ARCHITECT

INTERIOR DESIGNER
MICRO TO MACRO SCALE
DESIGNER PLANNING TECHNOLOGY &
MANAGEMENT

CREATIVITY ANALYTICAL TECHNICAL

Interior Design Transport Planning Project Management

Urban Design Urban & Regional Planning Real Estate Management

Conservation Rural Planning Building Engineering

Management
Landscape Design Environment Planning
Digital Architecture
Sustainable Design Industrial Planning

Product Design

Game Design

Automobile Design

Set Design etc

INTRODUCTION TO
INTERIOR DESIGN
NEED FOR INTERIOR DESIGN

WHAT IS INTERIOR DESIGN

PURPOSE OF INTERIOR DESIGN

ROLE OF INTERIOR DESIGNER

UNDERSTANDING INTERIOR SPACE

INTERIOR DESIGN PROCESS

ELEMENTS & PRINCIPLES OF INTERIOR DESIGN

 NEED FOR INTERIOR DESIGN?

Humans spend 80-90% of

their lives in interiors
 NEED FOR INTERIOR DESIGN?
Pollution exposure at home and work is often
greater than outdoors.
 WHAT IS INTERIOR DESIGN
Interior design -designing an interior space into an
"effective setting for the range of human
activities" that are to take place there

Work

Sleep

Recreation

Relax

Eating

Cooking
 PURPOSE OF INTERIOR DESIGN

Functional Aesthetic Psychological

improvement enrichment enhancement

Increase in performance Creative space Pleasure

More efficient , Beauty Association
Safer Comfort
 PURPOSE OF INTERIOR DESIGN

• satisfy our basic need for shelter and

protection

• they set the stage for and influence the

shape of our activities

•they nurture our aspirations and express the

ideas,

• which accompany our actions

•they affect our outlook, mood, and

personality.
 ROLE OF INTERIOR DESIGNER

AESTHETICS TECHNICAL

Colour Acoustics 

Texture Lighting

Material etc Temperature etc

Interior design encompasses both visual

and functional design as well as aspects of
materials, construction, and technology.
 residential design

commercial design

INTERIOR DESIGN hospitality design

healthcare design

Institutional design

exhibition design etc

 INTERIOR DESIGN

ARCHITECTURE PRODUCT DESIGN

To organize its parts into a coherent

whole
Interior decorators are primarily concerned with
surface decoration, generally refers to someone who deals with
finishes, surfaces, furniture, and wall coverings and no
government regulation regarding the work of an interior
decorator. 

Interior designer is one who is trained to create a

functional and quality interior environment, qualified through
education, experience and examination, so a professional
designer can identify and creatively resolve issues and lead to a
healthy, safe and comfortable physical environment.
UNDERSTANDING SPACES

Space

Architectural Space

Exterior Space

Outside to Inside

Interior Space
 SPACE
The geometric elements of point, line, plane, and
volume can be arranged to articulate and define
space.

Space inherits the sensual and aesthetic

characteristics of those elements in its field/frame.
 ARCHITECTURAL SPACE
At the scale of architecture, these fundamental
elements become linear columns and
beams, and planar walls, floors, and
roofs.
 ARCHITECTURAL SPACE

• A column marks
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.
 ARCHITECTURAL SPACE
• A wall, an opaque plane, marks off a portion of amorphous space
and separates 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.
 EXTERIOR SPACE
the architecture of a building must address the physical context of
its site and the issue of exterior space

due consideration should be given to the potential relationship, as

defined by a building’s exterior walls, between interior and
 OUTSIDE TO INSIDE
A building’s exterior walls constitute the interface between
our interior and exterior environments.

They may be thick and heavy, and express a clear destination

between a controlled interior environment and the exterior space
from which it is isolated. They may be thin, or even
transparent, and attempt to merge inside and outside.
OUTSIDE TO INSIDE
 INTERIOR SPACE
we sense shelter and
Upon entering a building,
enclosure. This perception is due to the surrounding floor,
wall, and ceiling planes of interior space. These
are the architectural elements that define the physical limits
of rooms. They enclose space, articulate its boundaries, and
separate it from surrounding interior spaces and the outside.
 INTERIOR SPACE
Interior design necessarily goes beyond the
architectural definition of space. In planning the
layout, furnishing, and enrichment of space, the interior
architectural
designer should be acutely aware of its
character as well as its potential for
modification and enhancement.
 UNDERSTANDING SPACES

Structuring Space

Spatial Form

Spatial Dimension

Spatial Transition

Modifying Space
 STRUCTURING SPACE
The building superstructure
consists of structural floor,
wall, column, and roof
systems. These systems must
work together to support the
following types of loads. – DEAD
LOAD, LIVE LOAD & DYNAMIC
LOAD

This structural form and

geometry, in turn, influence
the dimensions,
proportion, and
arrangement of the
interior spaces within the
building volume.
 STRUCTURING SPACE

Mechanical and
electrical systems
provide the necessary
environmental conditioning
of interior spaces and
help make them
habitable.

They provide heat,

ventilation, air conditioning,
fresh water supply, sanitary
waste facilities, electrical
power, and lighting.
 STRUCTURING SPACE WITH INTERIOR ELEMENT
A building’s structural system sets up the basic form
and pattern of its interior spaces. These spaces, however,
are ultimately structured by the elements of interior design.
 STRUCTURING SPACE WITH INTERIOR ELEMENT
A building’s structural system sets up the basic form
and pattern of its interior spaces. These spaces, however,
are ultimately structured by the elements of interior design.
STRUCTURING SPACE WITH INTERIOR ELEMENT
Within a large space, the form and arrangement of
furnishings can also function as walls, provide a sense
of enclosure, and define spatial patterns.
STRUCTURING SPACE WITH INTERIOR ELEMENT
Even a single element, by its form, scales, or style, can
dominate a room and organize a field of space about
itself.
STRUCTURING SPACE WITH INTERIOR ELEMENT
Light, and the patterns of light and dark it creates,
can call our attention to one area of a room, de-emphasize
others, and thereby create divisions of space.
 STRUCTURING SPACE WITH INTERIOR ELEMENT
The surface treatment of wall, floor, and ceiling planes
can articulate the spatial boundaries of a room.
Their color, texture, and pattern affect our perception of
their relative positions in space and, therefore, our
awareness of the room’s dimensions, scale, and proportion.
 STRUCTURING SPACE WITH INTERIOR ELEMENT
Even the acoustic nature of a room’s surfaces
can affect the apparent boundaries of the
space.
 STRUCTURING SPACE WITH INTERIOR ELEMENT
Finally, space is structured by how we use
it. The nature of our activities influence how we
plan, arrange, and organize interior space.
 SPATIAL FORM
When a chair is placed in a room, it not only occupies
spatial relationship
space, it also creates a
between itself and the surrounding
enclosure.
 SPATIAL FORM
As more elements are introduced into the pattern, the spatial
relationships multiply. The elements begin to
organize into sets or groups, each of which not
only occupies space but also defines and
articulates the spatial form.
 SPATIAL DIMENSION
The dimensions of interior space, like spatial form, are
directly related to the nature of a building’s
structural system-the strength of its materials and the
size and spacing of its members.
 SPATIAL DIMENSION
A square room, where the length of the space
equals its width, is static in quality and often
formal in character. The equality of the four sides
focuses in on the room’s center.
 SPATIAL DIMENSION

This centrality can be enhanced or emphasized by

covering the space with a pyramidal or dome structure.

To de-emphasize the centrality of a square room, the

form of the ceiling can be treated differently from the
others.

Square rooms are rare and distinctive

 SPATIAL DIMENSION
A rectangular space, normally spanned across its width,
is eminently flexible. When the length of a space is
greater than twice its width, it tends to dominate and
control the room’s layout and use
 SPATIAL DIMENSION
A space whose length greatly exceeds its width encourages
movement along its long dimension. This characteristic of
linear spaces makes them suitable for use as gallery
spaces or as connectors of other spaces.
 SPATIAL DIMENSION
Curvilinear spaces are exceptional and usually
reserved for special circumstance.
The simplest curvilinear space is a circular one. It is
compact and self-centering. While focusing in on its
center, it also relates to the surrounding space
equally in all directions. It has no front, back, or sides,
unless defined by other elements.
 SPATIAL DIMENSION
An elliptical space is more dynamic, having two
centers and unequal axes

Curved walls are dynamic and visually active, leading

our eyes along their curvature.

The concave aspect of a curved wall encloses and focuses

inward on space, while its convex aspect pushes space
outward.
 SPATIAL DIMENSION
High ceilings are often associated with feelings of
loftiness or grandeur. Low ceilings often have
connotations of cave-like coziness and intimacy, our
perception of the scale of a space, however, is
affected not by the height of the ceiling alone, but by its
relationship to the width and length of the space.
 SPATIAL TRANSITION
Floor, wall, and ceiling planes serve to define and isolate a
portion of space.
Of these, the wall plane, being perpendicular to our normal
line of sight, has the greatest effect as a spatial
boundary. It limits our visual field and serves as
a barrier to our movement.
 SPATIAL TRANSITION
Openings within the wall plane, windows and
doorways, re-establish contact with the surrounding
spaces from which the room was originally out off.
 SPATIAL TRANSITION
Doorways provide physical access from one
space to another. When closed, they shut a room off from
adjacent spaces. When open, they establish visual,
spatial, and acoustical links between spaces.
Large open doorways erode the integrity of a room’s
enclosure and strengthen its connection with adjacent
spaces or the outdoors.
 SPATIAL TRANSITION
The scale and treatment of the doorway itself can also
provide a visual clue to the nature of the space being
entered.

The number and location of doorways along a room’s

perimeter affects out pattern of movement within the space, and how
we may arrange its furnishings and organize our
activities.
 SPATIAL TRANSITION
Windows let light and air into the interior spaces of
buildings and provide views of the outdoors or from one
space to another. Their size and placement, relative to the wall
plane in which they occur, also affect the degree of separation
between an interior space and the exterior environment.
 SPATIAL TRANSITION

Windows framed within a

wall plane attract out attention with
their brightness and outlook, but
maintain the enclosure
provided by the wall.

Large windows and

glass walls attempt, at least
visually, to merge indoor and
outdoor space.
 SPATIAL TRANSITION
Stairways are also important forms of spatial
transitions between rooms. An exterior set of steps
leading to a building’s entrance can serve to separate private
domain from public passage and enhance the act of
entry into a transitional space, like a porch or terrace
 SPATIAL TRANSITION
Interior stairways connect the various levels of a
building. Wide, shallow steps can serve as an invitation,
while a narrow, steep stairway can lead to more private
places.

It can fill and provide a focus for a space, run along one of its
edges, or wrap around a room. It can be woven into the
boundaries of a space, or be extended into a series of
terraces.
 MODIFYING SPACE
When an existing building is to be used for activities other
than those for which it was originally intended, however,
activity requirements must be matched with the existing conditions.
Where a misfit occurs, a modification of the existing spaces
may be required.

Two major types of alteration can be considered. The first

involves structural changes in the boundaries of interior space
and is of a more permanent nature than the second, which
involves nonstructural modifications and enhancement
accomplished through interior design.
INTERIOR DESIGN PROCESS

Analyze synthesize

Evaluate
 INTERIOR DESIGN PROCESS - ANALYSIS
The ability to define and understand the nature of the
design problem adequately is an essential part of the
solution.
ANALYSIS
ANALYSIS

DEVELOP HYPOTHESES MAKE PROJECTIONS

problem requires that it be

The design problem is broken down into parts
first defined
issues clarified, and
values assigned

Goals and
objectives should gathering relevant
be set. information
INTERIOR DESIGN PROCESS - ANALYSIS

WHAT EXISTS?

 Document physical/cultural context

 Describe existing elements

 What can change.. What cannot?

INTERIOR DESIGN PROCESS - ANALYSIS

WHAT ‘S DESIRED ?

 Identify user needs & preferences

 Set goals

o Functional requirements
o Aesthetic image & style
o Psychological stimulus & meaning
INTERIOR DESIGN PROCESS - ANALYSIS

WHAT’S POSSIBLE ?

• What can be altered .. What cannot?

• What can be controlled .. What cannot ?

• What is allowed … what is prohibited?

• Define Limits: time, economic, legal,

technical
INTERIOR DESIGN PROCESS - ANALYSIS
• Isolate one or two key issues, which have value or
importance assigned to them, and develop solutions around
them.

• Study analogous situations and use them as models for

developing possible solutions to the problem at hand.

• Develop ideal solutions for parts of the problem,

which can then be integrated into whole solutions and be
tempered by the reality of what exists.
 INTERIOR DESIGN PROCESS - SYNTHESIS
Design requires rational thought based on knowledge and
understanding gained through experience and research.
Also playing equal roles are intuition and imagination, which
add the creative dimension to the rational design process.

ANALYSIS
SYNTHESIS

STIMULATE POSSIBILITIES TEST & REFINE IDEAS

INTERIOR DESIGN PROCESS - SYNTHESIS
Selected the Parts

• Select and assign values to key issues or elements

• Study the nature of the parts

• Visualize the ways the parts can fit together

Generate Ideas

• Look at the situation from different points of view

• Manipulate the parts to see how a change might affect

the whole

• Search for ways to combine several good ideas into a

better one

• Integrate into a whole

INTERIOR DESIGN PROCESS - SYNTHESIS
Selected the Parts

• Select and assign values to key issues or elements

• Study the nature of the parts

• Visualize the ways the parts can fit together

Generate Ideas

• Look at the situation from different points of view

• Manipulate the parts to see how a change might affect

the whole

• Search for ways to combine several good ideas into a

better one

• Integrate into a whole

 INTERIOR DESIGN PROCESS - EVALUATION
Design requires a critical review of alternatives and careful
weighing of the strengths and weaknesses of each
proposal until the best possible fit between problem and solution is
achieved.

Compare Alternatives

• Compare each alternative with design goals and criteria.

• Weigh the benefits and strengths against the costs and

liabilities of each alternative.

• Rank alternatives in terms of suitability and effectiveness

• Make Design Decisions

• Develop & Refine Design

• Implement Design
 INTERIOR DESIGN PROCESS - EVALUATION
While the initial stages of the design process encourage
divergent thinking about the problem, this latter phase
requires a convergent focus on a specific design
solution.

Once a final decision is made, the design proposal is developed

refined & prepared for implementation through working
 INTERIOR DESIGN PROCESS - EVALUATION
JUDGING THE DESIGN

• A design may be good because it functions well – it works.

• A design may be good because it is affordable – it is

economical, efficient, and durable.

• A design may be good because it looks good – it is

aesthetically pleasing.

• A design may be good because it recreates a feeling

remembered from another time and place – it carries
meaning.

• At times, we may judge a design to be good because we feel it

follows current design trends – it is in fashion – or because
of the impression it will make on others – it enhances our
status
 DESIGN CRITERIA
In defining and analyzing a design problem, one also
develops goals and criteria by which the effectiveness of
a solution can be measured.

Function & Purpose

Utility & Economy

Form & Style

Image & Meaning

 DESIGN OUTLINE
USER REQUIREMENTS
• Identify users - (Individual or group , If group, how many? )
• Activity Requirements ( Name and function of primary activity )
• Identify needs (Group needs , Specific individual needs )
•Territorial requirements (Personal Space, Privacy)
• Analyze Nature of the Activities (Active, Passive, noisy,
private, public)
•Analyze Requirement for lighting , Flexibility , Access

FURNISHING REQUIREMENTS
•Determine furnishing and equipment requirements for each
activities
(Number, type and style of seating, tables , work space etc)
•Determine desired qualities : comfort , safety
• Other special equipment required: Lighting , Electrical &
Mechanical
• Determine Possible Arrangements - Functional groupings ,Tailored
arrangements & Flexible arrangements
 DESIGN OUTLINE
SPACE ANALYSIS
Document Existing or Proposed Space
Measure and draw plan, sections, and interior elevations

Analyze Space
• Form, scale, and proportion of the space
•Doorway locations, points of access, and the circulation paths
they suggest
•Windows, and the light, views, and ventilation they afford
•Wall, floor, and ceiling materials
•Significant architectural details
•Location of electrical and mechanical fixtures and outlets
What modifications would be feasible, if necessary?
 DESIGN OUTLINE
DIMENSIONAL REQUIREMENTS

Determine Required Dimensions for Space and Furniture

Groupings
•Area required for each functional grouping of furniture
•Space required for:
• Access to and movement within and between activity areas
• Number of people served
• Appropriate social distances and interaction

Determine fit Between Activity & Dimensions of Space

•Study ways activity groupings can be accommodated within the
shape and proportion of the floor area and the vertical dimension
of the space.
 DESIGN OUTLINE
DESIRED QUALITIES

Determine Qualities Appropriate to Spatial Context and

Compatible with Client’s or Users’ Needs or Wishes

•Feeling, mood, or atmosphere

•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
 DESIGN OUTLINE
DESIRED RELATIONSHIPS

Desired Relationships Between:

• Related activity areas
•Activity areas space for movement
•Room and adjacent spaces
• Room and the outside

Desired Zoning of Activities

Organization of activities into groups or sets according to
compatibility and use.
ELEMENTS & PRINCIPLE OF DESIGN

• Space
•Harmony
• Line •Proportion

• Form •Scale
•Balance
• Texture
•Rhythm
• Pattern
•Emphasis
• Color
Space is the three-dimensional expanse that a designer is
working with, as well as the area around or between objects
within that expanse.
Large, open
spaces give many
people a feeling of
freedom and
sometimes luxury.
Too much empty space,
on the other hand, can
make people feel
lonely and
uncomfortable.

When a space is too

large for its purpose, it
can be divided with
permanent or
temporary room
dividers or screens.
You can also divide
space by arranging
furniture in small
TO MAKE AN AREA FEEL MORE SPACIOUS


allow large openings
between rooms

 furniture near
place
walls

 use small furniture,

patterns and textures

 minimum of
use a
furnishings and
accessories

 for empty spaces

allow
between furniture
and on walls
TO MAKE AN AREA FEEL MORE SPACIOUS


floor to
allow as much
show as possible


use mirrors to create
the illusion of space

 unify spaces by using

the same floor/wall coverings

 use light, cool colors

 place lighting on the

outside of the room or
underneath furniture
In small rooms with low
ceilings, people can often feel
confined or crowded.
However, well-designed
small spaces can make
people feel snug and
secure. The feeling of these
spaces is generally one of
privacy or intimacy.

To make a small space

appear larger, keep as much
space open as possible by
limiting the number of
furnishings. Select relatively
small furniture of a plain design.
Avoid using lots of patterns. You
might install mirrors to visually
enlarge the room. Another
TO MAKE AN AREA FEEL MORE INTIMATE
TO MAKE AN AREA MORE INTIMATE:
 place furniture
perpendicular to the
walls

 use furniture of differing

heights

 group furniture according

to areas of activity

 use large furniture that

sits directly on the floor
TO MAKE AN AREA FEEL MORE INTIMATE

 use large, contrasting

patterns, colors and
textures

 use warm, dark colors

 use natural lighting

 use soft, rough textures

to absorb sound
o Line delineates space, outlines form, and conveys a
sense of movement or direction.

o Lines can be used to convey a sense of strength, serenity,

gracefulness, or action. Combining lines and placing them in a
design in certain ways can create specific effects and feelings.

o The use of line can also have an effect on how space is perceived.

o They give direction and divide space.

o Types- Horizontal,Vertical,Diagonal & Curved

Another effect that line can create is increased height. As you
look at a tall window or long draperies, your eye is drawn in an up
and down direction--emphasizing the vertical space.

Width can be emphasized too. Low sofas and

bookshelves draw your gaze around the room and create the
illusion of greater width.

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 LINES

 Vertical lines–
feeling of power,
dignity and
masculinity, height
 LINES
 Horizontal lines—sturdy, calm,
restful
 LINES
 Diagonal lines—create activity and motion
 LINES
 Curvedlines—soften objects and create a
feminine appeal.
 SHAPE
 2-dimensional, made by connecting
lines, only length and width
o Form describes the
shape and structure of
solid objects.

o Form, like line, can be used

to achieve certain effects.
Large, heavy objects, such
as a piano or sofa, usually
give a feeling of
stability.
o Another way to create
stability in design is to place
several small objects
together. Two chairs
and a table placed close
together, for example have a
o An object’s texture is
the appearance or
feel of its surface.
o Texture is useful for
adding variety and
interest to a room.

o Texture can also affect

the apparent size of
an object. For instance,
a chair covered in a rough,
loosely woven fabric may
seem larger than the same
piece covered in a smooth,
satin-like fabric.
Texture can influence
the way people
feel in a room
although responses to
texture are personal
and subjective.

Formal
Smooth texture
Informal
Rough texture

Another interesting
aspect of texture is
the way if affects
color. In general,
smooth textures
appear lighter in
color than rough
textures.
• Plush, deep-pile carpet
and furniture covered
with soft fabric provide
a sense of comfort.

• Nubby, rough
materials convey a
feeling of ruggedness
and stability.

• Smooth velvets and

heavy brocades suggest
luxury.

• Glass, metal and

stone give a feeling of
coolness.
 PATTERN

 Using pattern in
rooms adds variety
with the other
elements of
design.

 The four basic

patterns are:
Natural/realistic Geometric
 Natural/realistic

 Conventional/
stylized

 Geometric

 Abstract
Conventional Abstract
/stylized
 Proportion

 Scale

 Balance

 Rhythm

 Emphasis

 Unity and Variety

The relationship in size of objects or parts of objects to one another
and to the design as a whole.

These curtains are tied back at

the golden mean for this window .
Scale: The proportion of an object or space to
human beings and to other objects or spaces in a design

Human scale should be

taken into account when
selecting furnishing for
home and non-residential
environments that children
use frequently.
 PROPORTION SCALE
 The way that one part of  The way an object relates to
the object relates to the another object.
whole object.
 Effective ratios:
 Golden Mean= 2:3  2:3, 3:5, 5:8

 Fibonacci Spiral
 BALANCE
 Visual balance in a room

 Equal weight on all parts of

the room

 Formal/symmetrical
 Both sides are the same,
mirror image

 Informal/asymmetrical

 Sides are different but

visual weight is still equal
Rhythm: The design principle that suggests connected
movement between different parts of a design by using
colors, lines, forms, or textures; also referred to as continuity.

Five types of rhythm:

*repetition
*gradation
*opposition
*transition
*radiation
 Repetition—a design tool (usually one of
the elements of design) is repeated.
 Transition– how one part of the design
changes to another part. Usually a
distinct curved line will guide the eye.
 Radiation—moves your eye out from a
central point
 Gradation—moves the eye from light to dark
or from small to large with one or more of the
elements.
 EMPHASIS
 The focal point of a
room

 Focuses your
attention

 There should be only

one point of
emphasis in a room.

 Architectural
emphasis (using
windows, staircases,
fireplaces, etc.) is a
great way to create a
focal point in a room.
HARMONY
Combination of variety
and unity to create a
pleasant feeling in a
room.

 Unity: A principle of
design that occurs
when all the parts of a
design are related by
one idea.

 Variety: A style of
decorating that
involves mixing
furnishing of different
styles and possibly
from different periods.
 DESIGN THEMES
CONTEMPORARY
Also known as modern, it is created to be comfortable, solid and more
than anything natural. With not too many trappings, the colors mostly
resonate around black, white, beige, brown and taupe. Polished
surfaces, sleek and geometric designs are often the characteristics
that represent contemporary furniture. Though the colors are simple,
they are used in a bold and vibrant way for a true contemporary look.
For instance, stark white cushions on black upholstered sofas makes
for a bold statement. A lot of metal, fibreglass, aluminium is also
used. The most essential feature of this kind of look is that every
piece of furniture is striking and sophisticated. Most people today
enjoy designing their house and office both, in the contemporary
style.
 DESIGN THEMES
TRADITIONAL
The quintessence of traditional
furniture is dark woods with ornate
carvings and a majestic appearance.
The final look is busy with floor
layouts matching the details of the
furniture. With classic features of
form and ornament, the lines of
traditional furniture tend towards
being elegant. Queen Anne,
Chippendale, Hepplewhite etc are
some of the common types of
traditional furniture.

URBAN
The more modern trend, urban leans
towards the minimalist. The woods
have either a black finish with
brushed aluminum highlights and
glass or light, blond woods with
brushed aluminum and glass. The
pieces are small scaled and designed
 DESIGN THEMES
COUNTRY AND COTTAGE
Lighter shades of woods, muted
colors, simple lines and vintage
fabrics make for country and
cottage styles. The most
important aspect of this type is
comfort and color. Furniture is
sometimes painted or decorated
and furniture lines are simple
and graceful. Textures include
baskets, bead-board walls,
natural fibers in floor and window
coverings, and weathered finish
on wood furniture.

TRANSITIONAL
Simpler lines than those found in
more traditional styles, but not
as simple as contemporary.
Transitional furniture is about
melding comfort and simplicity
of the contemporary with the
graceful styling of traditional
 DESIGN THEMES
ECLECTIC
An eclectic style is a reflection of an
individual's love of different design
aspects from different time periods or
styles. The overall look of an
eclectically styled room though unique,
is amalgamated harmoniously through
the creative use of color and finish,
shape and texture.

RUSTIC
This style of furniture represents lots of
exposed woods, walls, columns and
beams, simple lines and a practical
feel. Often wood panelling and stone
are also used. Rustic furniture looks
tough and durable while the
accessories are primitive and
somewhat minimized.
COLONIAL

It simplifies the look of European furniture and leans greatly towards Queen
Anne and Chippendale styles. Chairs characterize spindled legs and backs
rather than ornate designs.
 DESIGN THEMES
COLOR
Color must exude glitz, elegance and glamor. Strong colors will
continue to make its presence felt and will make a bold enough
statement.

Purple made a grand come back early this year after a long absence
and will continue to stay until early next year.

Other colors that made way this year are the metallic ones like silver
and gold. Red, yellow and blue have also made their presence known.
And because almost everyone is into the green movement these days
with all the eco-friendly campaigns going on all around the globe, the
color green has been seen in almost everything these days.
MINIMALIST DESIGN
 DESIGN THEMES
ROYAL FLAMBOYANCE
For those who are not into minimalist designs. Use of flashy furniture
and interior decorations, just incorporate silver or gold in your
furniture

Use glamorous curtains. Employ tall floor lamps and use those made
of iron or chrome.
 DESIGN THEMES
POP INSPIRATION
Europe always has a say about what is trendy or not in the furniture
and interior design industry, especially Italy. Italian designers have
put their feet down and dictated that state of the art materials and
fabrics should be used in designing pop inspired furniture. Strong
colors and round shapes define its cartoonish and pop inspired look.

Furniture pieces become interchangeable which allows flexibility in

style. Usually, this pop inspired look is a must if one is shopping for
office furniture to make the place of work more fun and enjoyable.