Interior Design Theory

ELEMENTS OF DESIGN PART 1: LINE

The application of line in this office designed by One Plus Partnership has a lot of impact. Lines are applied diagonally and vertically to create a very dynamic interior.

After many years in the business our Interior Designers have completed an array of successful commercial projects here in Kelowna and across Canada. These engaging spaces did not happen by chance. Design has a technical aspect to it referred to as the elements and principals of design, and when combined successfully, evoke emotion from our interactions with the interior environment. In

commercial settings, these emotions assist to reinforce your brand and corporate message. So, what are the elements and principals of design? We’ll explain it all in this blog series, so check back often. This week we’re talking about line – horizontal, vertical, curving, diagonal; each has an impact on how you perceive space. Lines can also be combined to create shapes and planes, or form – but that’s for another post. Structural elements, applied finishes, even lighting can all be applied to create strong lines within a space.

Dan Brunn Architecture was successful in accentuating length with the horizontal wall slats and rectangular floor tile in this showroom design for Ceasarstone.

Horizontal Line Lines applied horizontally often evoke feelings of stability, grounding, emphasis and direction. So, although horizontal lines tend create length and lower the ceiling of a space

they can also be applied to direct the viewer to a particular focal point.

The gold panels applied vertically and upwards onto the ceiling create a strong line that really adds to the feeling of height in Le Theatre Saint-Nazaire designed by K-architectures.

Vertical Line Vertical lines are often associated with strength (think pillar of strength), stability, balance, and elevation. It has been hypothesized that viewing vertical lines is unnatural compared to viewing horizontal lines. Additionally, vertical lines extend away from our visual plane. For these reasons,

the length of a line applied vertically is often extended lending to the feeling of height in a space.

If the goal was to create a dynamic and fun space, Dialogue 38 hit the nail on the head with this design for Guu Izakaya.

Diagonal Line Diagonal lines typically connote a sense of dynamic movement, transformation, and freedom. Diagonal lines can really bring life to a space, direct the eye upwards or downwards, and add volume to a space, making it feel larger than it is. That being said if applied incorrectly, diagonal lines can conjure a sense of confusion and imbalance.

This undulating seating element designed by Cappellini really creates a playful environment in this interior space.

Curved Line Curving lines whether freeform, arcing, circular, or elliptical often feel natural, organic, playful, and soothing. If you are looking to make a space flow curving lines are a great way to do it. They are also very voluminous taking up space within an interior. By applying lines in a way that relates to your brand message, you can create a space that appeals to your customers and highlights the product you sell.

ELEMENTS OF DESIGN PART 2: COLOUR

Colour can be applied to surfaces or as light to create interested and dynamic spaces.

As mentioned in our last post, the elements and principles of design are guidelines that inform and influence the way that interior designers conceptualize and realize spaces we design. When it comes to commercial interior design we look at how these elements and principles can help to enforce your brand and communicate it to your clients in a built form. We’ve already discussed the use of line; how varying direction, and combining them to create shape and form have a variety of effects on clients including evoking emotion and creating focal points within your space.

Colour is another extremely important and effective element in interior design. This is not a simple topic; colour is used not only to relate to your existing or emerging brand, but must be used carefully to encourage the proper associations, evoke the desired emotions and take into account the psychological effects deeply instilled in each. When your interior designer comes up with a colour scheme for your space this should all be taken into consideration.

Google knows how to apply colour in a way that not only enforces their brand, but also to create a fun and interesting working environment that benefits their employees.

Colour Basics Colour both affects and is affected by its surroundings and the colours in it, and is also affected by the colour of light

that falls on it. This is easy to detect when observing an interior space with a lot of daylight over the period of a day. In an east facing space with a lot of natural light the colour exhibited in the morning with an abundance of natural, direct daylight will be much different from that at midday when only indirect daylight exists. In the same way, the type and colour temperature of the bulbs in your lighting fixtures will make a huge difference in the way colour is rendered within your space. Terms like ‘primary’, ‘complimentary’, ‘warm’, ‘cool’, ‘hue’ and ‘tint’ are all common and important when considering the use of colour in interior design. For example, complementary colours are directly across from each other on the colour wheel, and when used together they really emphasize each other meaning that they appear to be more saturated. A neutral gray will appear warm on a blue (cool) background and cool when on a red (warm) background. Colour is used to create focal points, aid in way finding and add personality to your space.

Jerilyn Wright and Associates are not afraid to apply colour, even to a corporate office setting. This carpet adds a pop a colour and also provides a sense of direction within the space.

Physical and Psychological Effects of Colour Colour has been proven to evoke specific physical and psychological responses within our bodies. Red is considered the ‘physical’ colour; it has the ability to raise our pulses and create the illusion that time is passing faster than it is. It is also said by colour psychologists that red induces appetite; this is directly related to the physical effect red has on our bodies. Blue, on the other hand, is known as the ‘intellectual’ colour; it tends to affect us mentally by stimulating thought, communication and concentration. Yellow is considered the ‘emotional’ colour; it can evoke optimism and confidence in certain hues, but anxiety and

depression in others. It is important that these factors be taken into consideration when designing the spaces that we live, work and play in. A good rule of thumb is that warm colours are considered to be stimulating, while cool colours tend to be more restful.

The Red Prime Steak restaurant by Fitzsimmons Architects takes advantage of colour psychology by using the colour red to increase appetites.

Colour also comes along with many associations that may be personally, regionally or even generationally related. Cultural associations revolving around celebrations and traditions (green and St. Patrick’s Day), political and historical associations (for Canadians red = Liberal and blue

= Conservative), and contemporary usage and fads are all factors to take into consideration. Colour and Spatial Perception Considerations also need to be paid to the space and objects that colour will be applied to. Bright, warm colours tend to make objects appear closer and larger. Darker colours tend to make objects look heavier and smaller. Lighter colours seem to expand the boundaries of a space, while darker colours seem make a space feel closed in. These are very important tools that help to shape the feeling, appearance and atmosphere of a room. Painting a ceiling a dark colour will appear to lower the height, and applying a vibrant colour to a wall preceded by light coloured walls will create the illusion of a wider room. Colour Schemes There are a variety of colour schemes that can be utilized in design. For example, monochromatic describes a scheme that uses only one colour in various intensities and values. Another example is an analogous scheme which employs colours within 90 degrees of each other on the colour wheel. Each scheme provides designers with different guidelines for applying colour to an interior space.

The offices of Octavian Advisors by Adjaye Associates utilizes a monochromatic colour scheme, except for the bright green elevator entrances. This is an effective way of using colour for way finding.

Colour is an extremely important aspect in any commercial interior. Your interior designer will ensure that they understand your company’s brand and culture, and that the colour they apply to your space strengthens this while creating the desired atmosphere within your space. Applying colour correctly will enforce your brand and help to create a space as unique as you are. Did you miss our first post on the elements of design? No problem, read about it by clicking here

ELEMENTS OF DESIGN PART 3: TEXTURE AND PATTERN

Cabinet Braun-Braën created a warm and intimate restaurant environment by applying texture using a brick wall finish.

Before we talk about texture and how it can affect an interior space, let’s quickly debrief on the term “elements of design”. To create visually appealing spaces, interior designers apply various elements of design – line and shape, colour, texture & pattern, proportion, and light. In recent posts we discussed how lines and colour could be applied in commercial interiors to communicate a corporate message through a built environment, today let’s focus on texture and pattern. Texture

Texture reigns in this project for Lampe Gras fitting by Raw for the Fuorisalone 2014,. I bet you wouldn’t have guessed that a lot of this texture was created using the “In Mind” wallcovering from Wall and Deco!

When an interior designer refers to texture they are speaking to the surface quality of a material. Every surface has a texture whether it be smooth or rough, bumpy or flat. Our perception of texture is also influenced by the textures of adjacent surfaces, our viewing distance, as well as the lighting applied. For example, rough surfaces seem more textured next to smooth surfaces, when viewed up close, and when grazed with light (i.e. lit from the side). Additionally, texture can be described as either tactile or visual. Tactile texture relates to the actual feeling of a surface – smooth, rough, soft, hard, etc. Visual texture is our perception of what a texture might feel like. In other

words, we often make assumptions about the texture of a material based on our memory of touching similar surfaces. At Hatch Interior Design, we often incorporate texture to enforce the design concept. As discussed, texture helps to differentiate various objects and surfaces, transform light, and influence scale, but it can also communicate a particular design style. For example, typically when you envision a modern interior, glossy materials and minimally textured surfaces come to mind. These types of surfaces communicate a sleek and simple design style that often relates to contemporary interiors. Pattern

See how this colourful pattern really adds interest to this boardroom designed by Emmanuelle Moureaux Architecture and Design?

Although pattern can help to add texture to a space it has a very different definition. Pattern relates to the repetition of a graphic motif on a material. Remember that texture refers to the 2D quality of a surface, where as a pattern relates to illustrative perception. In commercial interior design, pattern is often applied using wallcoverings, tile, carpeting, and other graphic elements. Like texture, pattern can also define surfaces, impact scale, convey a design style, and add visual interest to a space. Be careful when applying pattern; if it’s not well balanced it can really overwhelm an interior environment.

As mentioned, texture and pattern have a huge role in defining the design style of a space. This is why in commercial interior design, it is very important that these elements are applied in a way that relate to the corporate brand of the business. Send the right message to your customers by applying the various elements of design in and effective way.

ELEMENTS OF DESIGN PART 4: LIGHT

This shabby chic tea company designed by Christine Rossi exhibits great lighting at the sales counter. Differing light levels create shadows and interest, and makes the product behind the counter the focus.

In our previous few posts we have discussed line, colour, and texture and pattern; this post focuses on the ever

important light as an element of design. Light is essential to any interior space as it is the means by which we can see our surrounding environment. The feeling of a space can be completely transformed by altering the intensity, placement and colour of light which makes it a very powerful tool. And wherever there is light there are shadows; a favourite saying of one of our professors was, “Shadows are free”. Any interior designer who has tackled a lighting plan in detail understands that this is not a simple task. There are many considerations that must be taken into account to ensure interior spaces are properly lit for functionality, mood and atmosphere, and sustainability. Since light has both psychological and physiological effects on people it is important to get it right. Functionality

Different types of spaces have different lighting requirements. In office spaces it is important that workers can complete their tasks, often involving reading printed documents or working at a computer. In retail the lighting should be designed to allow the product to shine (pun intended). The two biggest contributors to functionality from a lighting perspective are quantity and quality.

Jerilyn Wright & Associates did a good job creating some task lighting over the tables while providing a decent amount of ambient light down the corridor. This image is also displaying great examples of line and colour; two previously discussed elements of design.

Quantity Too little and it becomes difficult to perform necessary tasks. Too much and it causes glare. Both scenarios can cause eye discomfort which lead to health issues, both physical and emotial. TheCanadian Centre for Occupational Health and Safety describes good lighting as “providing enough illumination so that people can see printed, handwritten or displayed documents clearly but are not blinded by excessively high light levels (a cause of glare)”. The three main types of lighting that designers are concerned with are ambient, task and accent.

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Ambient light is the general illumination surrounding the environment or subject. It is indirect and soft, reducing contrast and shadows and is achieved through natural and artificial light sources, as well as reflection from surfaces.

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Task light is that which illuminates a small, specific area. A good example of this is a desk lamp which allows one to add more light to complete a working task.

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Accent light is used to add highlight, drama and focus to interior spaces. This includes directional lighting placed on artwork, or recessed floor lighting to graze the surface of a textured material.

Using these three lighting types correctly and intelligently in a space will ensure that the occupants have the right quantity of light; however this goes hand-in-hand with quality of light. Quality

This corridor, in the Puro hotel by Blacksheep, uses light as an element of design in way that highlights

room entrances and provides a soft, welcoming ambient light. Love how they also incorporated colour and pattern here to emphasize the entry doors.

When it comes to quality of artificial light, designers must consider glare, contrast, uniformity and colour. 

Glare can be either direct, coming straight from a light source, or reflected, shows up on a surface like your computer screen. Neither is good and lighting should be designed to reduce glare.

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Contrast describes a difference in illumination level between two points. We need contrast to distinguish one thing from another, printed words contrast their white background and allow us to read them. Too much contrast can limit our ability to see fine detail and cause eye fatigue.

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Uniformity refers to the overall space, and affects how comfortable one is within the space. Too uniformity is not usually desirable; this can create a bland space without interest and highlight. Have you ever been in a commercial space with fluorescent lighting where some bulbs are warm and some are cool? This makes the space uncomfortable to be in.

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Colour in lighting describes how the colour of a light source affects the colour of surrounding objects. This is a huge topic in the design world with the main factors being colour temperature and colour rendering. For a little more information on these check out our previous post on the subject. Mood and Atmosphere

Lighting has a dramatic affect on the mood and atmosphere of an interior space; different schemes are used depending on the purpose of the space. Some of the best examples of mood lighting in commercial interior design are restaurants and bars. From brightly lit and loud diners, to romantic candlelit restaurants, to mysteriously dim night clubs, lighting intensity and colour are valuable tools for creating a desired mood. And, of course, a good designer will also use those free shadows to enhance the lighting design.

Light is a powerful tool, and as an element of design it must be carefully planned to suit the space it is illuminating. The inclusion of a couple of different schemes within one space can singlehandedly change the perceived use of a space; think art gallery by day, party venue by night. By designing using dimming control and switching to allow a number of different lighting scenarios a space can become extremely versatile with little else.

Talk about mood lighting! The Shiro in New Dehli goes from dinner to night club with a fantastic lighting design.

Sustainability

Sustainability is another important factor when considering the design of light in a space. Daylight is free and comes without electricity bills attached, and also has many benefits to occupants of an interior space. But daylight cannot be our

only source of light, so how do we light up our spaces in an environmentally responsible way? There are many energy efficient lighting options out there to choose from. These are ever evolving and improving in a response to our more sustainably minded modern society. From fluorescent, to LED, to high pressure sodium; there is a suitable solution for every situation. We feel that it is very important that the functionality of the light source be considered first with the effective means of achieving this following. LED are very popular in today’s market, but by no means are they the right solution to every lighting problem.

The Plumen bulb is a ‘designer low energy light bulb’ that is a great alternative to the spiral CFL bulbs.

There is no doubt that light is a terrifically important element of interior design. Ensure that this is done not only

aesthetically, but also scientifically to properly and effectively light your interiors. Correct use can increase employee productivity and reduce number of sick days, help to sell your products, and lure passersby into your restaurant or lounge.

ELEMENTS OF DESIGN PART 5: SCALE AND PROPORTION

Although another element of design, colour, is applied, proportion is also a key contributor in making this lounge space atCreston (designed by The Interiors Group) really stand out.

For our final post in our blog series, we are going to focus on the elements of design, scale and proportion. In commercial Interior Design, the most important objective for a project is to enhance our everyday experiences within

the environments we work, live, and play. Although consideration of all the elements of design is necessary to achieve this goal, scale and in turn, proportion have the largest impact on spatial functionality.

The classic Barcelona chair is an icon, but because it’s so low it often appears as though it is not sized appropriately for our modern human scale. In the room pictured above by Design Partners International for Kuper, vertical line has been applied to the ceiling and wall to draw the eye down and add a sense of proportion to the space. Without this consideration for scale and proportion, this room may not be so well balanced simply due to the low horizontal nature of the seating.

Scale

Without consideration of scale, in particular, human scale, our everyday activities would be more difficult. Scale refers to the relationship between two or more objects, one that

has a commonly known size. In most cases, the size of objects is compared to our own human scale. We can find examples of this in our homes and workplaces; for instance, standardized heights have been created for countertops, chairs have been scaled to fit our bodies, the widths of hallways allow for people to comfortably pass one another. You can see that the way we build our environment is based on the commonly known anthropometric data of human scale.

The application of contrasting colour and texture on the ceiling, walls, and floor, as well as the incorporation of low horizontal furniture could lead to this room feeling out of scale; however, DAP Studio masterfully counterbalanced this effect by repeating and lowing the horizontal light fixtures.

Proportion

Proportion is a word often used interchangeably with scale although there is one subtle difference between the two definitions. While the word scale implies the comparison of objects where the actual size of one object is known, proportion relates to the general size of two objects without information regarding their actual sizes (or scales). While scale is more absolute, proportion is truly relative and requires the interior designer to understand the interactions between objects within a 3 dimensional space. For most designers, it’s a difficult thing to explain when objects in a room are in proportion – this is what we refer to as having “an eye for design”. There is no right or wrong when it comes to this application of proportion. As it can alter the way our spaces look and feel, getting proportion “right” all depends on the intent of the designer.

Often interior designers will apply proportion in contrasting ways to emphasize a particular area. This design byLemayMichaud Architecture Design is a great example of this; note how the oversized fixtures really call attention to the bar.

In most cases designers aim to achieve proportion within the spaces they design; however, there are times when the design goals call for disproportion. One way to create emphasis in a space is to introduce oversized items in a way that is disproportionate for the space. For instance, large pendant lights over a cash counter or boardroom table could call attention to that area.

Although understanding the ideas behind proportion and scale are important, design requires an awareness of every element and principal (check back for future blog posts about the various principals of design). It must be said that Interior design is complicated; there are so many interactions between all the elements of design and these interactions, as a whole, have an effect on the feel of a space.

PRINCIPLES OF INTERIOR DESIGN PART 1: BALANCE

Balance is everything in design. Everything just feels right when a space is as well-balanced as the one above designed byBBG-BBGM.

Principles of interior design are achieved through the application of the elements of design. Unsure of what the elements of design are? We’ve got you covered; check out our previous blog series in which we provided an introduction to line, colour, texture and pattern, light, and scale and proportion. As interior designers we have become quite adept in applying both the elements and principles of design to our commercial projects to create interesting spaces that help to reinforce your brand and corporate message. There are many principles of design, but this first post in our series will focus on balance. Everyone understands the importance of balance. One lesson that we learn quite quickly from a very young age is that without balance things

tend to go sideways. Whether it be learning how to ride your bike, stacking wooden blocks or knowing when to take a break from work to enjoy some leisure time, balance is a constant in our lives. So, how does balance translate into interior design?

You wouldn’t guess that the above photo of Microsoft’s new office, designed by Studio O+A, is balanced, but it is. This is because it’s balanced in an asymmetrical way using variety in the visual weight of objects. Feels a bit informal and that’s probably exactly what the designer was aiming for.

Just as when we are off balance in various aspects of our lives, an unbalanced interior space can be uncomfortable. There are instances when this is the desired effect, but for the majority of spaces one goal is visual balance. This is achieved by distributing the visual weight of objects within a space to achieve a feeling of equilibrium. The size, color, texture, shape of an element can change its visual weight. For example, larger, darker, brighter, highly textured, complexly shaped objects typically feel heavier and require

balance through the placement equally “heavy” items or multiple less heavy items. Balance can also be achieved in three ways: symmetrically, asymmetrically and radially.

Symmetrical Balance Symmetrical balance is achieved when items are actually repeated or mirrored along a central axis. This type of balance is frequently seen in nature, our own bodies included. Symmetry is common in interior design and can portray a feeling of stability, calmness and dignity; however, can also be seen as static, dull and unimaginative. Symmetry can be achieved through the use of pattern, arrangement of furniture, fixtures and millwork, and through the application of colour.

A great example of symmetrical design, Lah! by Ilmiodesign mirrors the banquettes back-to-back to create order in a space that has a random, eclectic feel.

Asymmetrical Balance

Asymmetrical balance relates very strongly to the visual weight of objects. Rather than repeating the same item within a space to achieve balance, in this case we are using different elements with a similar perceived weight to achieve balance on the opposing axis. As stated above, complex

shapes often feel heavier and for that reason are commonly used to achieve asymmetrical balance. Asymmetrical interiors tend to feel more dynamic and less rigid because in these spaces a variety of objects types are working together to create balance. This form of balance can be more difficult to achieve it often requires an “eye for design”.

Radial Balance Just as it sounds radial balance is almost circular – distributed arrangement of items around a central point either extending outward or inward. Common examples of radial balance translated to the interior environment include chairs centered around a table, the structure of a circular rotunda, or even a circular lighting fixture. If you wish to create focus on a central item, applying radial balance (so that the your attention is directed inward) is a great way to achieve this.

The boardroom designed by BAKOKO Architects in the image above is an excellent example of radial symmetry. Notice how the focus is on the centre of the table? We also get a real sense of vitality, but in a really organized way.

Whether by introducing different textures, colors, forms, or by literally creating symmetry in a space, interior designers often aim to create a feeling of balance. The way we create this balance (asymmetrically, symmetrically, or radially) can have an effect on your client’s perception of your space and, in turn, help them form an impression of your company culture. Make the right first impressions by hiring a registered interior designer to create the interior space that reinforces yourcompany brand. Check back for future posts on the remaining principles of design: rhythm, emphasis, unity, harmony, and variety.

PRINCIPLES OF DESIGN PART 2: RHYTHM

Kjellgren Kaminsky Architecture created rhythm in this dance hall by repeating a pattern of mirrors.

Our last blog post introduced the principles of design with a focus on balance. This post will focus on another principle of interior design, rhythm. Rhythm can be thought of as a pattern in movement. You can hear it in varied sounds to create music or in the steady drip of a faucet. It can also be seen; think about lines in the

sidewalk and how your footsteps relate to the regular breaks. Rhythm can be seen and heard throughout nature and in our built environment through repetition, alternation and progression. These three methods of achieving rhythm can be applied to interior spaces as a way to introduce order, interest and focus, and to help lead your eye through a room. Repetition

Repetition is the simplest way to attain rhythm and can be achieved by repeating any of the elements of design (line, colour, texture and pattern, light, and scale and proportion) or other design concepts in an organized and regular way.

The repeating wood slats on the wall of this pizza shop by Baynes & Co Designers creates a playful rhythm and draws your eye through the space.

Alternation

Alternation is used to create rhythm by alternating two or more elements in a regular pattern. The pattern may be ABCABC or ABBABB, but always repeating in the same order.

This restaurant by Soma Architects displays both repetitive rhythm, in the booths and chairs, as well as alternation which can be seen in the pendant lights that hang in groupings with an ABAAAABA rhythm.

Progression

Rhythm can also be achieved through progression. Examples are a gradation of colour or a series of objects that start small and become large in a very regular manner.

The Barajas Airport by Richard Rogers and Estudio Lamela is an excellent example of rhythm achieved through repetition and progression of colour.

In interior design, rhythm is all about repetition of design elements that help to create movement within a space. Rhythm may be applied in bold statements that make an obvious suggestion about a path of travel, or more subtly applied to move your eye about a space without you even realizing the rhythm is there.

PRINCIPLES OF INTERIOR DESIGN PART 3: EMPHASIS

Here is a less obvious example of emphasis in design. Interior design firm Geremia used really heavy, dark stools contrasting with a lighter surrounding to make the counter a focal point in Citizens B Restaurant.

If you read our blog you know that we have already touched on all the elements of design (line,colour, texture & pattern, light, and scale & proportion) as well as two of the principals of design (balance and rhythm). This week we’re moving on to emphasis, probably one of the most well-used design principals. Two of the questions we always ask our clients during the programming phase include: 1) What do you want to highlight in your space, and 2) What do you want to hide in your space? These questions form a foundation for our interior designers to create and/or distract focus from an

area. Typically in commercial interior design we find our clients are most interested in highlighting their products, signage or customer service counters, whereas in residential projects design elements such as a fireplace, artwork, the staircase, high ceilings, or large windows with views tend to be the focal point.

It’s pretty obvious that Pinkeye Crossover Design Studio wanted the yellow desk to be the focal point in their design for Oz Flagship, but they also applied texture to create a screen partition with secondary emphasis.

A focal point or even two emphasized areas can really help to create drama and interest in a space all while creating an everlasting first impression. Because we focus on commercial interior designhere at Hatch (and these first impressions are always so important for the success of a

business), it is essential that we ensure a client’s product and brand message are dominant in our projects and we do this in a number of ways. Emphasis via Placement

The way you place your intended focal point within a space is one very important consideration. For example, in a linear room such as a hallway the wall space at the very end of the hall or a feature area in the centre would have the most impact. If you read our last blog post and intend to create rhythm by repeating elements in your design, you could create a focal point by interrupting that regularity right down the centre to bring attention to the “one-thing-that’s-not-likethe-others”.

The most commonly used way to create focus is to use colour just like Wingardh Architects did in this law office design for Vinge. That staircase sure pops with that deep teal hue.

Emphasis via Elements of Design

Since you are now so well-versed in all the elements of design, why not use one or two of them to create emphasis? Colour and light are two really easy ways to do this. Use a contrasting or bright hue along with some spot lighting to make sure your important item gets the attention it deserves. You can also introduce a new texture, smaller scale items, or direction using lines around your focal point to really make it stand out. We think you’re getting the picture here, basically work towards creating noticeable contrast around your focal point

and it will shine within your retail shop, office, spa, or restaurant design. There are few more elements of design coming up in our future posts, don’t forget to check back soon.

PRINCIPLES OF INTERIOR DESIGN PART 4: VARIETY

395 Page Mill First Floor by Studio O+A serves as AOL’s headquarters. The variety of form in this atrium space creates interest without using bright colours, textures or patterns.

The principles of interior design provide some fundamental guidelines for designers to draw upon. These do sound like rules, however some rules are meant to be broken… thoughtfully. A great interior designer considers and implements the elements and principles of design, and then

goes beyond to break the rules to create excitement, interest and surprise. If you missed our previous series on the elements of design (line, colour, texture & pattern, light, and scale & proportion), or our first three principle of design posts (balance, rhythm and emphasis) you can look back to catch up. Variety How-To

We love how simply Geremia incorporated variety in this space for Asana by changing the angle of paint applied to the chairs.

Variety is the spice of life. Can you imagine living in a world where everything was the same colour or every person had the same personality? Boring! In everything we do and everywhere we go, variety makes things interesting and exciting. Variety in interior design can come as a unique

shape or form, a contrasting colour, or as varying patterns or textures; the use of it adds diversity to our commercial interiors. Variety can be achieved by using opposites or strong contrasts, changing an angle or a point of view, or by breaking a repeating pattern to create a focal point. Variety When & Why

We incorporate variety in our interior spaces to mix things up. The danger of not implementing some type of variety are dull, stagnant interiors that provide little to no stimulation or focus. It can be used to draw attention to a help desk, aid in wayfinding or add interest to a large open work area.

fischerAppelt’s Hamburg office exhibits variety by placing this pattern rich seating area amongst a sea of monolithic tile and concrete structure.

While variety is an important principle of interior design, it should go hand-in-hand with harmony and unity so that the result is a space that doesn’t look thrown together. Check back in a couple of weeks to learn more about harmony and unity, and how to use it in conjunction with variety to create dynamic interiors that strengthen your brand.

PRINCIPLES OF INTERIOR DESIGN PART 5: HARMONY AND UNITY

The office of Aeria Games by Lindemann Projektnet exhibits ultimate harmony and unity; probably a refreshing and welcomed environment for employees of a colourful and interactive online game site.

We have come to our last post on the principles of interior design; harmony and unity. Our two series of blog entries on the elements and principles of design introduce you to the fundamental guiding forces that may be incorporated into the design of your commercial interior. If you missed our previous series on the elements of design (line, colour, texture & pattern, light, and scale & proportion), or our first three principle of design posts (balance, rhythm and emphasis) you can read back to fill yourself in. Harmony

Harmony can be described as sameness, the belonging of one thing with another. The repetition of design elements like colour, texture, shape, and form is one of the easiest ways to achieve harmony to create a composition.

BEHF Architeckten’s design for this BIPA office uses colour, pattern and shape as harmonious elements in at least a couple of floors of open workstations.

Unity

Unity is when the elements in a space combine to make a balanced, harmonious complete whole. The space feels right and everything works together. The result is a pleasing feeling, that everything is right with the space.

The Banker’s Hill Bar and Restaurant in San Diego’s rustic finishes, exposed structure, eclectic collection of chairs and deer mount all work together to create a cosy, unified space.

You can see how these two principles of design go hand-inhand. Harmony and unity are two words that designers often use to describe the feeling of a space. We will also use these terms in relation to your project and the finishes, fixtures and furniture we are proposing. They can provide a sense of calmness, or at least play a role in limiting chaos in our workplaces, and can also add to the comfort level of a room; especially when balance is also considered and effectively realized. If you read last week’s post on variety you may be saying to yourself, “Hey, didn’t they just tell us that the world becomes a boring place when everything is all matchy-matchy? Isn’t

variety the spice of life?”. To that we say, “Yes!”. As interior designers we tend to want harmony and unity with pops of variety to add interest and liven up a potentially static, dull space. Furthermore, all of the elements and principles of design should be considered and used where appropriate in your project. They are the tools that we, designers, keep in our bag of tricks to imagine and execute interiors that are as unique as you are.

We are constantly seeing new and very cool projects by Nendo. This Camper shoe store illustrates how a little variety in an otherwise unified space can help to make merchandise the focus of a retail space.

We hope you have enjoyed our glimpse into the elements and principles of interior design. The thoughtful, creative use of these age old guidelines are what give places of

work and play character and identity. A great interior designer will know how to incorporate some or all of these to enforce your message and strengthen your brand.

INTERIOR DESIGN TO ENFORCE AND STRENGTHEN YOUR BRAND

Design powerhouse Nendo completed Puma House, a multifunctional space in Tokyo.

For anyone who reads our blog regularly, you have probably noticed that we often remark that interior design can enforce and strengthen your company brand. Since we are currently completing a new office space design for our favorite brand

marketing company, Urban Jungle, we thought it was a good time to take a deeper look at this topic. There is a lot of buzz out there about branding, and rightly so, but what exactly does it mean? What are the real effects of establishing a strong brand? And how does interior design tie into this? We will cover all these questions, but first let’s take a look at a case study for branding gone right. Puma really understood how their brand needed to connect with their interior environment (see image above). Nendo, the designer of this space outlined “For our design, we placed ‘staircases’ that climb around the existing features around the space like vines. But these staircases are not for people to climb. Rather, they function as display stands for PUMA’s sneakers and as a compositional element that gives the space a special character. The resulting effect is a strong reminder that we exercise our bodies daily going up and down stairs, and has a visual connection with stadium stairs and podiums too, to bring in PUMA’s important relationship with sports.” What do you think? Did the subtle connection between the stairs and Puma brand connect with you? We think so. The Importance of Branding

A company’s brand is what makes them unique and helps them to stand out against the competition. There are many companies that sell computers, but none can compare to Apple when it comes to an effective brand strategy; and that’s an understatement. Apple’s sleek design, simple and minimal material palette, intelligent and attractive

packaging, and clean looking website contribute to a popular brand that is known by anyone who hasn’t been living underground for the last ten years. And it doesn’t stop there. All of these elements also work into another one of Apple’s branding tools; you guessed it, their unmistakable retail stores. Their interior spaces are designed with the same brushed metal and pure white finishes (with some wood to warm things up), the same simple and clean lines, as their products are known for. I’m not sure about you, but if I was placed blindfolded in a Mac store, I’m pretty sure I’d know where I was when I removed the blindfold.

This Apple store by Bohlin Cywinski Jackson Architecture exemplifies how your commercial interior spaces can communicate and strengthen your brand.

Hire Branding Professionals

Branding your company is a big deal. You want to make sure you are hitting your target market where it counts and making a lasting impression so that you are the obvious choice for whatever goods or services you are offering. And not to worry; just as you are an expert in what your business does, there are experts who know about this branding stuff too. They will ensure the development of your brand is done right. If you are in need of an effective brand strategy that tackles your business from all angles you need to hire a professional, particularly one that specializes in brand marketing. At Hatch we work closely with Edmonton-based Urban Jungle for all of our branding needs. The UJ team has been an invaluable resource for us. Their creative and personal approach to the workings of our company helped us evaluate who we are and how to portray that through everything that Hatch does. Because we have an awareness of what we want the Hatch brand to be, it is easier for us to apply those goals to all areas of our company. This applies to the way we answer the phone, to the way our project drawings look, and everything in between. And, yes, this also applied to the design of our office space.

100% Chocolate Cafe knew that the interior of their store needed to express their boutique image and sweet product. Japanese firm Wonder-Wall did an awesome job translating this brand into a built form – makes me want chocolate. Yummmm.

Your Brand Translated into Your Commercial Interior

We, of course, took care of our office design. We let our already established, and always evolving, brand inform the concept and final aesthetic of our storefront space. Catchy window graphics emulating our circle pattern, Hatch colours of bright yellow and grey displayed through funky patterns, and super sleek materials mixed with natural elements give people a pretty good idea of who we are before even talking to us or checking out our website.

For our office design we implemented elements from our brand to create a commercial space that is uniquely Hatch Interior Design.

Logos, mission statements and company ideals are only a few of the elements that work into a cohesive brand strategy; all of these should be considered in the design of your workplace. Extending your brand into your interior commercial space helps your clients and customers understand a little about who you are and what makes you unique. As Urban Jungle puts it, “Your brand lives in the real world. When your customers and staff encounter it in their daily lives, your environment affects their thoughts and emotions—which, in turn, influence their behaviour.” Well said.

COMMERCIAL DESIGN TRENDS PART 5: BRAND DIVERSITY

Camper knows how to find designers who can really make their brand shine. A-cero‘s design in Granada certainly highlights the strong brand.

A steadfast rule in commercial interior design is to maintain consistency for corporate chains across their many locations. Have you ever wondered why every McDonald’s restaurant design looks the same no matter its geographical whereabouts? A lot of research was completed to help brands like McDonald’s determine that consistency in their image improves brand awareness, and ensures their customers know exactly what to expect whether they visit a store in Vancouver or Montreal. Sound reasoning right? Well, yes and no. We continue to witness a

new commercial design trend that promotes brand diversity allowing for customers to have novel experiences.

McDonald’s demonstrates perfectly the new commercial design trend of brand diversity with this French location designed by Patrick Norguet. This restaurant design is unique and specifically geared to appeal to a local market.

This progression to design diversity has not happened overnight. We’ve witnessed a gradual change in how franchises or chains tackle their store designs. In the good old days there was one architectural and interior design plan that remained relatively consistent from store to store. It was easily reproduced and offered companies the benefit of an economy of scale. Construction was simple and easily

managed, while the ability to purchase materials and fixtures on a bulk basis brought down costs. From a business perspective, this worked well; that is until consumers and franchisees began to demand more choice.

Aesop has taken a step towards design diversity with their collection of stores in Adelaide, Boston, and Stockholm designed respectively by Genesin Studio, William O’Brien Jr., and In the Praise of Shadows.

A new demand for variety encouraged evolution for the preferred design model. What happened next was calculated, sustainable and ultimately very smart. Commercial interior design firms worked with their corporate clients to develop a series of design options that maintained brand consistency, but that also provided the location owner with a choice of 3-5 unique styles. Now each location would be built with a design plan that best reflected the needs of each individual market. Brilliant!

Camper has a slightly different approach. Although each store is designed specifically based on its geographic location, each one has an entirely unique brand perspective. See how (respectively above) the Shanghai store by Neri and Hu varies from the New York store by Nendo and even the Palma de Mallorca store by Fernando Amat?

This new approach – design for individual preference – was so brilliant that it has been the norm for years. But, with a growing global economy and heightened international competition, companies are forced to consider the needs of each unique culture. Technology has also stimulated our cravings for information and novel experiences; we need diversity. As a result, our design model must be reconsidered. Recently our interior designers have been observing this shift taking place. Where in the past one interior design firm would develop the options, now an array of interior design firms, often residents of each store

location, are developing very unique designs that reflect the local cultures while remaining consistent in communicating the brand. Powerhouse companies like Starbucks, Aesop, and Camper have all demonstrated this with the diverse design of their global locations.

Starbucks has been a major leader in the design diversity trend. An internal branding overhaul sparked the development of unique locations including (respectively above) New Orleans designed by Starbucks in collaboration with local artisans, Fukuoka designed by Kengo Kuma, and Amsterdam designed with local artisans under the direction of Liz Muller.

Changing society demands and cultural shifts will continue; in turn, so will the field of interior design. We are really enjoying this new approach of brand diversity in commercial interior design and see it as a viable option to meet the current reality. Only time will tell, does this method have longevity? We look forward to finding out.

HATCH’S INTERIOR DESIGN PROCESS PART 1

You might feel like planning isn’t fun, but you know what is? Having a space that looks like this because you did plan. Kudos to Grosu Art Studio for their trailblazing design concept pictured above; we know pulling this off takes planning.

Have you ever wondered about the interior design process for a commercial project? What is involved and what steps your interior designer takes to help deliver a killer project to you when all is said and done? We bet it’s more than you think! Read on to learn about how we at Hatch Interior Design approach your project.

Pre-Project There is a lot that happens on our end even before we know that the project is ours. For the large majority we provide you, our potential client, with a fixed fee proposal. In order to do so there are a few things that need to happen first. An initial meeting to talk to familiarize ourselves with the specifics of the project. This includes:

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learning about the business from a number of different angles including brand message, target market, daily processes and procedures, number of staff, types of spaces required, etc.;

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learning about the space that is either being updated or moved into, we want to know the size, have a look at the existing plan (which often can be supplied by the landlord) and often times conduct a site visit to fully understand the scope;

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understanding your budget;

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discussing options for the construction of your project, either hiring a general contractor or tendering.

Does your space look like this, but your brand indicates it should really look like that? Then you’re probably thinking “I need a professional interior designer”. Pulp Design Studios lead the transformation of Howard Wang’s Southlake as pictured above.

Once we have all of this information we may bug you with one or two emails requesting clarification or asking questions that have come up since our meeting. It may seem like a lot of information to provide before we have agreed to work together, but the goal is for us to know enough about your project to provide you with a comprehensive and detailed fixed fee proposal. “Fixed fee?” you ask. We practice transparency with our clients and believe that this scenario is in your best interest. The proposal we provide outlines the scope of work as we see it in a very detailed way that communicates to you exactly what our fee will get you. Other activities that go on during the Pre-Project phase involve getting really excited about the design possibilities, dreaming up interesting features that would uniquely express your brand and set you apart form your competition, realizing we are getting ahead of ourselves as we do not yet have a contract in place, continuing to dream about your project because it doesn’t matter, it’s just something we like to do.

Programming So we’ve decided to work together! Now it’s time to get moving on the Programming phase of your project. This is a short, but very necessary phase where we get into the smaller functional and technical details of the information you provided in our initial Pre-Project meeting. Although restraint can be difficult in the midst of new-projectexcitement, we need to shelf ideas of what the space will

look like and what materials are going to be used for a later date.

Yes, boardrooms are still used for things like…your visioning session during the interior design programming phase, (or playing cards). This creative boardroom was designed by industrygiant Studio O+A for Zazzle.

At this point we really need to know the goals of your business; we want to dive deeper into your brand, get to know the core values and gain a better understanding of your target market. We also need to understand functional details: the number of offices needed, linear feet of product display you are hoping for, furniture, fixtures and equipment (FF&E) and storage requirements…you get the picture. Depending on the size of your project and how much time you have been able to spend thinking about adjacencies, support spaces, etc., this may be taken care of in one meeting or may require a few to really nail down the details.

Schematic Design We love this phase of the project; it’s where we get to start figuring out how to lay out your space, kind of like a puzzle. This is a space planning exercise that our Registered Interior Designers excel at. It’s rare that we sit down and everything falls together. A lot of thought, organizing and reorganizing is involved to settle on a plan that meets your functional requirements. In some cases there are obviously more than one way to plan the space, in others it becomes clear that because of the shape and size of the space there are not many options. We ensure that we look at your space from all angles and show you the options that you have.

Here’s a dance studio designed by Tsutsumi and Associates that, even in the built form, feels conceptual. Don’t be fooled however, a lot of planning surely lead to this achievement.

A couple of meetings with you during the Schematic Design phase are important to go over the layout(s), discuss areas that aren’t working for either you or for us, massage the plan and look at other options for achieving the end goal. Once a final plan has been agreed upon we are ready to move onto the next fun phase of your project; Design Development. So, sounds like a lot of work hey? Yup, and we’re really just getting started! In our next blog post we get into the Design Development phase where your project begins to take on 3D form complete with finishes and furniture. Make sure to check back in a few weeks to learn about our approach and scope for this exciting and pivotal stage of your project.

HATCH’S INTERIOR DESIGN PROCESS PART 2

Ronen Levin design studio must have followed the typical interior design process to achieve this outstanding and beautifully detailed project for LovEat coffee shop.

Unless you’ve worked with a professional interior designer before, you may not realize how much work is actually invested into a successful business renovation or tenant improvement project. It’s not uncommon for business owners to seek out the help of an interior designer only to receive a fee proposal that, on first glance, may seem higher than originally anticipated. In our experience, once that potential client reads through the scope of work, it becomes clear that there are many, many details for the consultant to address including meetings, phone calls, drawings, revised drawings, product sourcing, budgeting…you get the picture. In this second part of our series on the interior design process, we’re going to give you more information about the design development

and contract documents phases of an interior design project.

Here’s a look at the design progression for Ania Kruk Jewelry Boutique by Mode:lina from design development to the final product. These sketches were a necessary part of the interior design process and that time spent was definitely worthwhile.

Ok, so we’ve already discussed the planning phases in our recent blog post, but to recap, in the first stages of the project we have investigated project goals and requirements and we’ve developed a functional space plan. Now, we can move on and get into the details of how the space plan will translate in the built form and how we communicate this to a General Contractor. These phases are called Design Development and Contract Documents.

Design Development To be concise, design development, as it relates to interior design, is how we transform our vision for the space into a unique design plan. In reality, however, the design development stage is everything but concise as it involves a myriad of activities including: 

Devising a solid design concept or source of inspiration;

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Generating 3D models and sketches of key ideas and specialty components;

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Researching, presenting, refining, and determining finishes, fixtures, and furniture;

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Formulating details for millwork and custom features;

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Refining the design to reflect budget figures;

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Communicating with the client and other consultants via meetings, minutes, email and phone;

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Referring to local regulations and building codes for compliance;

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Reviewing preliminary consultant drawings; and

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Implementing various preliminary 2D plans including ceiling plans, finish plans, elevations and more.

Here’s a project, Pixar by Evoke International Design, with a strong design concept. The designers must have had fun meshing characters from Pixar movies, with the name “Pixar”. We approve and obviously, so did the client.

For this phase to be successful we need a strong starting point or vision. We take inspiration from the company’s brand message, logos & imagery, history, and future goals to devise a design story that directs the progression of the design. For example, the concept behind our Grouse River project was based upon the geographical layers found in nature and translating this natural beauty into modern forms, finishes, and fixtures within the space. Any time we were faced with a decision we would always refer back to this starting point to ensure we were staying on track.

As mentioned, at Hatch we work on 3D models. For us, this is an inherent part of the process as it helps us find the details that need to be refined, and it is a valuable communication tool so our clients can see what goes on in our crazy designer brains. If photos are worth 1000 words, 3D models must be worth a billion. Design development sounds like a lot of work; that’s because it is. We find it accounts for about 30-40% of the project. That’s ok with us though, because it’s the fun part!

Another example, except this time showing the conceptual design for the firearms area at our Grouse River project, and then another of the final product. Our client can attest that the time we invested in properly detailing this area via the sequential interior design process, was valuable to his project.

Contract Documents

So, by now our clients and our design team are feeling pretty excited about things. We have a killer design plan and it’s full steam ahead to get this thing built. Whoa, hold your horses! We still have to put together the drawing set so that building permits can be acquired, pricing determined, and a General Contractor obtained. In this crucial phase we: Integrate a package that consists of drawings (demolition plans, partition

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plans, reflected ceiling plans, basic electrical and communication plans, finish plans, furniture plans, elevations, details, door schedules), specifications, code studies, and an instruction to bidders document; Coordinate with project consultants via meetings, emails, and drawing

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reviews to include engineered drawings within the package; Communicate with the client to facilitate their understanding and approval of

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the contract document package; Prepare materials required to aid the client in their application for a building

 permit.

You know that saying, “it’s all in the detail”? Well, it is. Your professional Interior Designer develops those details throughout a formulated interior design process. This component of the platte tables was conjured by Alice Tacheny.

Contract Documents is the phase of the project we try to do as quickly as possible (meaning, sigh, you’ll typically see us hard at work when you’ve turned off your TV and jumped into bed). There’s still a respectable amount of work to complete, but we want to see the project move into construction just as much as our clients (hence pulling off some long CAD sessions)! Sounds like we’re done? Well…actually…no. Remember, you still need a General Contractor, and of course, firm pricing on the project, oh and don’t forget, our help to ensure the project is built as intended. But, this will have to

wait for our next blog entry; check back soon and we’ll fill you in on these final stages.

HATCH’S INTERIOR DESIGN PROCESS PART 3

There are a tonne of intricate details in this design for Zizzi by Scardigno Design. Coordinating all these details to produce the restaurant you see above would have required great teamwork between the General Contractor and Interior Designer during construction.

Are you gearing up to tackle a commercial interior design project for your business? If this is your first experience working with a Registered Interior Designer it is beneficial for you to understand ourdesign process and the amount of work it takes to ensure that the end result is something that all parties are happy with. Our previous two posts have guided you through the Pre-Project, Programming and

Schematic Design phases, and the Design Development and Contract Document phases . What more can there be? Finding the right General Contractor and ensuring that your project is built as intended is the objective of the Tender and Project Administration phase.

Tender and Project Administration Unless you’ve worked with a professional interior designer before, we find this is the phase of the project that is most difficult for potential clients to understand the extreme value of. Tender Once in a while our client has a General Contractor (GC) selected prior to hiring us. Other times, when schedule constraints do not allow the tendering route, we suggest that one be hired during the design process to jumpstart your project and keep things moving forward. However, the majority of the time we suggest that your project be put out to tender. Why? Competition is healthy and helps to keep your costs down by requiring anyone interested in building your space to be fair and reasonable when pricing your project.

We’re sure that Note Design Studio was involved to the very end of this project to help in supporting both the GC and their client, Finefood, to achieve a project everyone was proud of.

What does a tender mean for your interior designer? The process involves us issuing our contract documents (comprised of drawings and specifications) to interested GCs. The GCs will then compile pricing from a wide variety of subtrades to submit a complete project bid. We also issue a document entitled “Instructions to Bidders” which outlines the project description, contacts and general requirements that the GC will have to meet should they be awarded the project. Additional tasks that we take on during the tender period include:

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Recommendation and pre-qualification of 3 General Contractors to participate in the project tender;

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Communication with bidders during tender; and

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Issue clarifications and addenda during tender.

This takes more time than you might think! GCs tend to be very detailed in the information they request so that they can be confident that the bid they are submitting has covered everything in the Contract Documents. Project Administration When your GC informs you that the really cool light fixtures your Interior Designer spent hours sourcing have been delayed and will compromise your opening date, do you feel confident enough to source a new option that will meet the aesthetic and functional requirements, all the while being suitable for a commercial application? When the millwork subcontractor submits shop drawings to illustrate their interpretation of the detailed custom retail fixture designed specifically to display your products, could you determine with certainty that what they understand matches the design, or provide comments and requested revisions required to do so? We don’t expect you to answer ‘yes’ to either of these not-so-hypothetical questions, that is part of our job! These are just two examples of the sometimes hundreds of responsibilities we take on in this phase of the interior design process.

The custom designed sleeping bag displays for our Grouse River retail project were highly detailed and specific to the product and goals of our client.

This is an example of just one page of the shop drawing set for the sleeping bag display. The submission was from the millworker and the red mark-ups are our comments for revisions required so that it could be built as intended. This project had 17 sets of shop drawings for the millwork alone; this does not include review of hardware, light fixtures, security gates, finishes and other items (the list goes on and on).

Other activities that keep us busy during this phase may include: 

Coordination of your contract with the selected GC;

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Communication with you and the GC over the course of construction;

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Weekly construction meetings to address any concerns and to monitor the progress in relation to the predefined schedule;

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Troubleshoot and provide solutions for issues that may come up due to existing site conditions, delayed materials, etc.;

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Review of shop drawings and submittals;

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Site visits to review any deficiencies and inspect completed work;

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Follow-up with documentation as needed to monitor changes and provide direction to the GC; and

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Review progress invoices submitted by the General Contractor and provide certificates for payment.

The Tender and Project Administration phase of your project will typically make up around 15% of our fixed fee price. We cannot stress enough how important the activities listed above are to the success of your project and are hopeful that, after learning what is involved, you will agree. Still need convincing? We would welcome you to speak to any of our previous clients for a better understanding of the value this phase added to their project.

The Funny or Die offices may look like a simple space, but it’s the details that create this illusion. Clive Wilkinson Architectswould have made sure they were spot on when it came to Project Administration so that the project was realized as intended.

We hope that our series of posts on Hatch’s Interior Design Process has been helpful in preparing you on what to expect for your commercial project. We feel that it is important that our clients understand what is involved on our end and that we are always acting in their best interest. We enjoy what we do and we especially enjoy seeing you ecstatic with your interior when all is said and done.

LIGHTING HOW TO Lighting design is perhaps one of the most important, but often overlooked, steps in planning a commercial or

residential interior. Here are a few tips that will help you make the right decisions when it comes to lighting.

Layered Lighting

Layers Lighting is best when it’s “layered” as was done in the above kitchen by XTC Design Inc. Lighting layers are created when different types of lighting as well as different lighting levels are introduced into a room. Consider using a mixture of fixture types including recessed, sconce, pendant, and even floor lamps to create visual interest. Dimmers are ideal for energy savings and for creating different moods in the

room, but work best when different fixture types are placed on separate dimmers. This way, different types of lighting can be raised or lowered depending on the task at hand. The best way to set up a variety of pre-set lighting levels is to install a scene control switch.

Proportional Dining Room Fixture

Size DOES matter In the world of lighting sizing, proportion and spacing really matters. In dining rooms or boardrooms where chandeliers or pendant fixtures are being installed go big or go home! The rule of thumb for fixture size: multiply the room’s width (in feet) by two. The resulting number is the ideal diameter for the fixture, but in inches. So, a 10 foot wide room needs

a 20 inch diameter fixture. You could also base the lighting size on the length of the table – diameter should be about 1/3 the length. The selection of fixture shown in the dining room above (designed by Kelly Deck) offers excellent proportion and impact. How high should the light be mounted? Residentially it should be mounted between 3036” above the table. Commercially, consider the use of the room – is there a whiteboard or TV screen in the room? If so, mount the fixture to ensure minimal impact to sight lines. Spacing of recessed fixtures is another important consideration. Although it will depend on the fixture and lamp type, a typical baseline is to install fixtures 12-24” from the wall and approximately 48” from each other. In a kitchen, however, lights should be spaced about 9” from the edge of the upper cabinet – see the photo below for an example of optimal placement. Generally, lights should be about half as close to the walls as they are to each other.

Kitchen Lighting Spacing

LED facts Although LED technology is improving almost daily, there are what is provacyl still some drawbacks to this lamp type. Think LED’s are low heat? Surprisingly, 75-85% of their energy goes to heat and because of this, LED’s do not last very long in warm places. LED’s degrade over time, meaning that their light output decreases. Check the manufacturer’s stats for light degradation and compare. An LED lamp should be replaced once it’s degraded by 70% for task lights and 50% for decorative. LED’s have lower light

distribution and are often high glare because the beam spread is more focused, so make sure to decrease the typical lighting spacing (of 48”) to ensure an even level of lighting. Finally, don’t be fooled not all LED lamps are created equal. Check to see if the lamp has been tested to meet standards, specifically IES-LM-79 and IES-LM-80. Also compare your lamps side by side by placing them on a table and shining them towards the ceiling, which one offers the best level of light?

Color Rendering

Color Temperature and Color Rendering Different lamp types produce different colors of light; different lighting temperatures change the way we perceive colors in a room. If the room has cooler colors, like blues or purples, look for a lamp with a cooler color temperature between 3000-3500 Kelvins (K). If the room has warmer colors, like reds or yellows, look for a lamp with a warmer color temperature between 2700-2800 K. One hard fast rule regarding color temperature – do not mix them in a room, always keep color temperature consistent.

Now, different lamp types also affect the intensity of color. Look for lamps with a high color rendering index (CRI); 100 is the highest. The higher the CRI, the more vibrant the color; lamps with low CRI values tend to wash out the colors. Refer to the image of the vegetables for an example of CRI impact. Incandescent and halogen lamps have a CRI of 95 or higher; some fluorescents can also rate high.

Excellent lighting design by Tripped on Light Design Inc. for Yew Restaurant

Even with all these tips, sometimes you need a little help when it comes to lighting. Either contact your qualified Interior Design Professional or turn to an accredited lighting

designer such asTripped on Light Design Inc. in Texada, BC.

A dramatic lobby with lighting designed by Tripped on Light Design Inc.

How to Use Basic Design Principles to Decorate Your Home

Kristin Wong 2/24/15 10:00am Filed to: DECORATING 187.2K 3738

Some people are born with a great eye for decorating or design. Others learn the skill and are able to apply it successfully. And then there are the rest of us. If you don't have much of a knack for design, a few basic techniques can go a long way. These decorating rules and principles are simple enough that most anyone can apply them. Your home might not look like a West Elm catalogue, but it'll look presentable.

Follow The Rule of Odd Numbers

You might already be familiar with the rule of thirds for photography. Designing with odd numbers as a foundation can create harmony and visual interest, explains designer Cecilia Walker: The basic idea of the rule is that details and objects that are arranged or grouped in odd numbers are more appealing, memorable, and effective than even-numbered pairings. It helps to have groupings of objects in varying heights, shapes and textures. At the same time, there should be something similar about them. This advice seems to contradict itself, but the point is, there should be

something that groups your items together, but also something about each of them that is slightly different. Look at the image above as an example. Three vases, all different heights. The main materials are similar—wicker and glass. But there are subtle differences in elements—sand, water, and the texture of the limes. Walker points out that this is just a basic rule, and it might not work in every instance. But if this grouping doesn't look right to you, go with your gut. The goal here is to make sure everything isn't uniform, and by extension, boring. Find Your Room's Focal Point

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A room's focal point is its most emphasized feature. It's the thing your eyes are naturally drawn to when you walk into the room. And everything around the focal point compliments it. If you're lost with how to start decorating a room, finding its focal point is a good start. Many rooms have built-in focal points: a large window with a view, for example, or a fireplace. If your room doesn't have a built-in focal point, here are some tips and options for creating one:  Paint one wall a different color, then accessorize with artwork or shelves, says interior designer Coral Nafie.  Decide what you want to use the room for, then create a focal point around that, says The Inspired Room. For example, if you want to use a room for reading, you'd make a bookshelf your focal point.  Nafie also suggests simply using a large piece of furniture as a focal point.  You could use a large piece of artwork as a focal point. A large mirror also works well. Once you find the focal point, decorate around it. Use its main color in elements throughout the rest of the room. In the above example, the focal point—the fireplace—is white. The red walls make its color stand out, and the white candles, orchid and vases all around the room compliment the fireplace. You can also frame it. In the photo, the vases, windows and sofas serve this purpose. A fireplace is easy to frame, as it usually comes with a mantle. You can add decor on or above the mantle. If your focal point is a large window with a view, you might arrange your furniture to frame it. If

it's a large mirror or an interesting piece of artwork, you might frame it with two smaller elements on either side, like this:

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Once you have a focal point, a center point helps balance the room.Apartment Therapy explains: The center point is the core of your room's layout. It doesn't have to be the exact middle of the room, although that's the case in many homes. The

center point of a living room is where the coffee table or center table will sit, with seating arranged around it. Think of it as the room's anchor. Know Basic Measurement Rules

When it comes to hanging curtains or arranging furniture, most of us just eyeball it as we go. But there are specific measurements for decorating that make a room look better. Here are a few general measurements to keep in mind:  Coffee table distance: Keep at least 15" between coffee tables and sofas, says decorator Maria Killam. Apartment Therapy suggestsleaving about 18" between them.  Hanging art: When hanging art, keep its center at eye level, which is generally 56" to 60" from the floor, says Driven By Decor. If you're hanging multiple pieces of art, keep the center point of the whole arrangement at this level.

When hanging art above your sofa, make sure it's no more than 2/3 the width of the sofa. You'll also want to leave 5-9" of space between the art and the furniture, Driven By Decor adds.  Hanging curtains: Crate and Barrel says it's typical to have 1-3" of overlap on either side of your window. For height, they say you should mount curtain rods 4" from the top of the window. But maybe you want your windows to look wider or taller. To create the illusion of height, Real Simple says you can go beyond the 4" standard, but don't exceed 8", or it'll look awkward. To create the illusion of width, feel free to break the 1-3" standard, too. You might want to go as far as 12" on either side.  TV distance: How far your TV should be from your sofa will depend on its size. We've talked about viewing distance before. The easiest rule of thumb: multiply the diagonal size of your TV by two. That's about how many inches your tv should be from your seating area. For rugs, there are three basic rules you can follow. All on: If a rug is big enough, you can put all legs of your furniture on top of it. But you should leave 12-18" of floor surface on all four sides of the rug, says decorating site Houzz.

All off: If you have a smaller space, you might choose a smaller rug, and then you'd leave all four feet of your furniture off of it. Houzz adds, "You don't want to pick too small a rug, though, or it may look insignificant, like an afterthought."

Front on: Many designers choose to just put the two front feet on the rug. This can tie everything together and create a feeling of openness.

Again, most all of these sources add one big caveat: don't be afraid to break these rules. They don't always work, but they're good guidelines to follow. Consider Your Negative Space

Sometimes, less is more. In design, the negative space is the area that's not taken up by any subject. Most commonly, this is the white area on your walls. Its tempting to fill every space with a subject, but sometimes, the negative space speaks for itself. Apartment Therapy explains: In writing, sentences often contain extra words that without, the sentence would sound just fine. Train yourself to look for those moments in your own home. Is there a narrow wall with a small blot of art that when taken down, would still look like a fine wall? Is there a tabletop with a fledgling vignette that would look just as spectacular if cleared off? Decorating with negative space can be a bit complicated, but there are a few ways anyone can do it:  Avoid clutter. This is probably the best and most common way to make the most of negative space. A bunch of stuff might fit perfectly on your table, but that doesn't mean it all needs to go there. Leave some room—some negative space.  Be intentional. Make sure the negative space serves a purpose. You might leave a space empty to highlight a decorated area nearby. Or maybe the negative space creates an interesting design.  Look at shapes. SF Gate's Home Guides explains that two contrasting shapes can create an odd—or interesting—negative space. "a curved coffee table can soften the harsh negative space lines created by angular sofas and chairs in a square room. But this space plan may not work in smaller rooms, which would force edge of the round table too close to the sofa for comfortable sitting." To clarify, it's not just about looking for places where you can remove things. It's about looking for spots that look great even when they're

empty. It's also about considering the function of the empty spaces between subjects. Layer Your Lighting

Lighting could be a whole post in itself, but here's what you should consider when you don't know much about it. First, learn the three basic types of lighting:  Ambient: Its also called general lighting, and its the overhead lighting meant to evenly illuminate a room.  Task: As its name suggests, task lighting is meant to light a specific task. A lamp in the living room might light a reading area. Undercabinet lights in a kitchen serve as task lights for countertops.  Accent: Accent lights are meant to highlight a particular object. You might see them on painting, for example. Adding different types lighting can give your room dimension. Start with ambient lighting in each room, then consider how you can use task and

accent lighting. Real Simple has some specific tips on how to do this in each room. Beyond these basics, you'll probably also want to make your home look like your own. We've got some tips on how to do that, too. These guidelines help you get started, but you should adjust your decorating according to your own tastes and preferences. Use these rules to get started, but don't be afraid to break them and go with your instincts if something feels right to you.

Psychology of Design Here’s an example. Newlywed clients of mine first hired another interior designer when they moved into their new house together. When the work was ‘done,’ they found themselves unhappy with the results. The design just didn’t reflect how they saw themselves. They had signed off on the design because they felt ‘comfortable’ with it. After it was done, they didn’t feel comfortable at all. They felt stifled. They called me in. After getting to know them I realized where the misstep had been: the original design was too familiar. The style was overly traditional because that’s what the husband had grown up with. The palette was drab because that’s what the wife had grown up with. Yet in the present, these were two highly successful, dynamic people, full of life and looking forward to their future together. We worked closely together until we’d identified elements from the couple’s past that they found truly comforting, and I found ways to incorporate those elements into a new interior design that served their specific needs and desires. And they loved it. Bringing the past into a design can be a very subtle, private process. Something that represents comfort from your past may be captured through a piece of art or a texture or even a visual rhythm in your home. How your past is reflected is something that need only suit you – and the other people living in the home with you. The psychology of design is very simple. It is based solely on the psychological make-up and welfare of the people living in the home; who the design is for. Where you came from, who you are now, where you see yourself in the future. The bottom line: exceptional interior design must be, by definition, intensely personal and specific to you. After all, it’s your life and your home. Shouldn’t it be your design?

Design Fundamentals in Practice The Principles The fundamentals are known to most professionals as the principles of design. They are scale, proportion, rhythm, emphasis, balance, and harmony. These principles evaluate each element in a design (magnificent vs. mediocre right vs. wrong). When you are making selections and / or arranging furnishings, keep these in mind. Scale the entire perspective. The objective with scale is for objects to be alike or harmonious in dimensions or mass. Proportion evaluates the relationship or ratio of parts to the whole. Rhythm speaks to the flow within a room and throughout your home. Emphasis is the important focal point(s) in a room. Balance is equilibrium though symmetry (mirror images from a center point), asymmetry (optically varying items from a central point to achieve balance), or radial (equilibrium based on the circle). Harmony is creating a feeling of suitability through unifying elements and objects and adding variety for interest and diversity. The objective is to create an agreeable, appealing whole that wont tire in the long-run. Design Elements The elements discussed here are used by artisans of all types painters, sculptors, photographers, interior designers, etc. They have been discovered and refined over the course of history and are considered elementary and critical to all fine-art. They are space, shape, form, mass, line, texture, pattern, light, and color. Space as humans, we need both large and small areas to please our psyche. Both, or the appearance of both, need to be in your home. There also needs to be a comfortable balance and proportion of positive, filled area, and negative, unfilled area. Traffic paths are negative space in a room yet functionally important. Shape and Form Shape is the two-dimensional outline while form is the threedimensional configuration. Mass is the actual or optical density of an object. Line is used to create width and height, or the appearance of activity, movement, or flow. The psychological effect of line ranges from secure (horizontal line), free or expansive (vertical), action-oriented (angular) to soft and comforting (curved). The most pleasing effect will have a balanced mixture of lines with one taking the lead role. The dominant line will be chosen dependant upon what feeling or image you would like to portrait. Texture is the actual physical feel or surface appearance of a furnishing or treatment. Pattern is forms arranged in an orderly manner. Light is a critical element in all fine-art. General (overall lighting), task (focused lighting), and accent (highlight and sparkle-effect lighting) are important in residential design. Colors,

textures, and patterns can be true or altered primarily dependant upon your artificial lighting. Color is the most personal and evocative element in design. We all have our favored and least favored color(s) and many people have associations to particular ones. Colors are considered warm (reds, yellows, and oranges), cool (blues, greens, and purples), or neutral (beiges, browns, black, grays, and whites). Scale, the first principle defined, was the one that went out the window when overstuffed, large scale furniture was all the rage. Folks went out and bought truck loads seriously – it took several trucks to move it all. Purchases were made without considering the actual scale / dimensions of the room where the furniture would live. A caveat as you visit my blog you will come to know I often do caveats here is my first – I stand in awe or marketing sometimes. I am an interior designer and sometimes I see an ad for something I would usually find distasteful. But add a spin on it that I can relate to, and Im half way to buying it. I sometimes have to shake my head to bring myself back to reality it is some what like a deer and headlights I think. That is how I believe much of the overstuffed furniture ended up in places it shouldnt have. Can you use large pieces in small rooms of course! As we go through some pictures, well see how principles and elements made it not only work but be entirely pleasing to the eye.Lets take a look at my family room. The footprint and dimensions are below. As you can see, it is not a very large room and it has quirks. One of the focal points is the fireplace. A second focal point is a media center we already had and did not want to replace. My goal was to comfortably seat as many folks as possible. It needed to be kid friendly, store blankets, pillows and magazines, manage drinks, and of course, be beautiful. I liked the idea of ottomans for comfort and storage but not so much for drink management. Trays on ottomans are good for food but drinks with young kids not so much. Here is what I came up with I positioned the large media cabinet first and balanced it with a large L-shaped sectional such that both focal points (emphasis) can be seen (media and fireplace). I added two storage ottomans, a magazine holder, and an end table with task lighting. What about the drinks? I also built a 5 shelf just below the top of the entire sectional back so drinks may be placed behind the sectional. The shelf is out of sight from view. How did I come up with the depth of the shelf? I took several items and measured them (cereal bowl, coffee cup, and of course, the largest martini glass we own). Five inches could hold all of these items well without subtracting too much space from the room. I have software to aid all my planning it is imperative to my work. I know most dont have this readily available but there are free products you can use such as Smartdraw andSketchup. There is also graph paper, a ruler, and a pencil. Please, before you do any purchasing, take the time to draw it out. This will save costly mistakes. Here is the family room realized. Our family photo hangs over the fireplace. We all wore chocolate brown for the

picture. Hey, I am a designer thats what I do. The sectional was a very important choice large (it balanced the large media cabinet on the opposing wall) but relatively clean in shape and form and moderately scaled. It needed to be. Something with more mass would have overpowered the room since is practically covers two walls in the space. The ottomans are in proportionwith the sectional. I want all those that come into this room feel comfortable, at ease. The media cabinet already had the nice horizontal line I needed, so I added the horizontal lines of the sectional and ottomans. Even though there I plenty of furniture in the room (positive space), there is also ample negative space and clear traffic paths. I also used neutral color on the furniture and walls. The neutrals are shades of the same hue. The sectional has a soft texture devoid of pattern so it is quiet and comfortable. So I had my main pieces the largest pieces in the room. In harmony, there is unity and there is variety. I had unity covered with the lines, balance of the large pieces, and the neutral color. Now I needed variety. I took my colorpalette from art I already had and wanted to use in the room. I positioned them over the large portion of the sectional a clear view from all angles. I pulled the green and red directly from the art down to the sectional with throw pillows, and then again down to the floor with a green area rug. I selected glass tiles with similar neutrals and the pop green. Now the room was developing. I had a nice rhythm from eye level (art) down to the sectional pillows, and down to the floor (top to bottom). I also had a nice rhythm (using color and pattern) going around the room (side to side) with the pillows as they are positioned all around the sectional with the green being picked up again in the tile. I also added variety with pattern and texture for interest. The pillows and area rug have both. As I did not want to room to be too sleepy, I angled (line – action oriented) the rug. The rug guides the eye to the adjoining sun room, which is a bright and sunny room compared to the family room. For accessories, I added a tree to the left side of the media cabinet and a large vase with yucca sticks to the right side. These large accents are balanced via scale but add variety because they are different. Red vases sit on the mantel and in the corner on the shelf and the magazine holder, you guessed it, red more side to side rhythm. Now for the family part of the family room pictures. Pictures, pictures, and more pictures of my daughter and one large family picture over the fireplace. The top of the media cabinet is lined with pictures on stands of Lauren from age 0 to 3. The short wall above the sectional has an arranged pattern of Lauren at age 5. All the pictures are the same size and are framed identically (unity); my daughter provides the variety with her many and sweet facial expressions. One element we havent discussed light. Light is a critical element in all designs. I could have designed the most magnificent family room, but if it is not properly illuminated, one may not be able to appreciate it (ok, magnificent

thats a little grandiose but you get what I mean). Lighting is that critical and often overlooked. In this room, I have four recessed lights (general lighting), two pin lights over art on top of the media cabinet flanking the pictures (accent lighting), three tilted pin lights on the large family photo (accent lighting) and one portable lamp on the end table (task lighting). Layers. Layers of lighting to illuminate, to enhance, to focus, to sparkle. Quick example of light Here is glass art I have on top of the media cabinet accent light off – pretty: Accent light on oo la la no camera tricks here just me with my little Canon no flash either time: Does that help with understanding the principles and elements? Ok, maybe a little drawn out. My hope is that you now have some understanding of these factors and will recognize the language I will use from time to time when we talk about design. Where did my pieces come from? Both the sectional and ottomans are from Zagaroli a favorite vendor of mine. Ultrasuede covers the sectional cushions with the frame in chocolate leather. The ottomans are in chocolate leather with an Ultrasuede welt to marry the seating arrangement. Both materials are kid friendly and durable. I do not recall the brand of the media center we bought it so long ago. Other pieces I used in the room for interest – the end table is from Worlds Away. I love the shape and form of this table. Mine is nickel plated (it comes in different finishes) with mirrored top and shelf; it is very versatile. The magazine holder and the climbing men are from Global Views. The throw pillows and drape fabric is from Robert Allen/Beacon Hill. The area rug is fromFiezy. The fireplace surround is done polished glass subway tile from Reflections at Dal Tile. The portable lamp is from Arteriors and the large floor vase is from Palecek.

A short story early on I worked briefly with a head-strong client (I can relate to being head-strong to a certain point). My client built a beautiful townhome and was very excited to furnish it. My client began this process by working with a designer in a very nice store. Then I was brought into the mix. A sectional and ottoman for the main seating area was already selected. I went to the store to look at them. They were enormous! ENORMOUS! I asked if the room had been drawn to scale with the sectional positioned. My client said, The store designer did that. Great! May I see it? What she showed me was a doodle really, a doodle not a scaled room drawing. I have never seen a store designer do that before or since. Usually they are very professional and wonderful to work with. Fortunately, I had measured the room. I stated for the record that the room and sectional were not drawn to scale and needed to be because I was grossly concerned that the very expensive sectional my client was determined to buy would simply not fit. My client looked perplexed. I asked to please, please let me draw it to scale for before ordering this custom piece. I bolded custom you

know why. one cannot return a custom piece. I drew the room and sectional to scale. It did fit. However, there would not be any traffic path or ability to put anything else in the room what so ever as the sectional would consume the entire room. I drew several alternatives using the same line of furniture but with traffic paths, casegoods, lighting, etc. When I showed them to my client, I was fired. Oh dear. Did I mention my former client was head strong?? I do not know if the sectional was purchased. I truly hope it was not. That would have been a significantly costly mistake. This was years ago but I still think of that every time a see an overstuffed sectional.