- abstract shapes, 168
- accent lighting, 113
- accessibility, 10–11, 38
- accessories
- for detail, 62
- ergonomic, 73
- for harmony, 88
- for styling, 180
- acoustic baffles, 88, 92
- acoustics, 12–13, 92, 182
- adaptability, 14–15
- adjacency, 16–17
- adjacency matrix, 16
- adjustable-height tables, 73
- aesthetic details, 62
- air, in biophilic design, 30
- alignment, 18–19
- Americans with Disabilities Act (ADA), 38
- analogous color scheme, 45
- analysis, in programming process, 148
- anchoring, 20–21
- apertures, 20, 22–23
- art, in biophilic design, 31
- Art of Memory, The, 178
- Arts and Crafts Movement, 54
- asymmetrical balance, 27, 89
- asymmetry, 24–25
- in furniture arrangement, 18, 19, 25
- aural hierarchies, 92
- backlighting, 113
- balance, 26–27
- Bauhaus, 54, 80
- behavioral technology, ergonomic, 73
- Behrens, Peter, 142
- Benyus, Janine, 28
- biomimicry, 28–29
- biophilia, 30–31
- Black Mountain College, 40, 41
- bookshelves, as organizing grids, 87
- Brunelleschi, Filippo, 140
- bubble diagrams, for assessing adjacency, 17
- building codes, 38–39, 68
- casual furniture, ergonomic, 73
- character, 32–33
- circular design (circular economy), 34–35
- circulation, 36–37
- closed (proprietary) specifications, 176
- codes, 38–39, 68
- collaboration, 40–41
- color
- for contrast, 52, 53
- gradated, 84
- monochromatic, 124–25
- organized by hue, 96
- as red thread, 156
- surface, 182
- symbolism of, 186
- tone of, 194
- color blindness, 47, 124
- color harmony, 88
- color palette, 42–43
- color scheme, 44–45
- Color Sphere, 96, 97
- color temperature, 112
- color theory, 46–47, 194
- complementary color scheme, 45
- composition, 48–49
- conceptual design phase, 60
- conceptual unity, 200
- connection, 50–51
- consultants, 40
- contrast, 52–53
- Cooley, Mike, 98
- cool tones, 194
- craft, 54–55
- creativity, 56–57
- curves, 134, 135, 168
- Danish style, 55
- da Vinci, Leonardo, 28, 84, 100, 166
- daylighting, daylighting fixtures, 130, 131
- depth, 58–59
- design development phase, 60
- design elements, emphasis by, 70
- design process, 60–61
- details, 62–63, 156
- diagonal lines, 114
- diffuse materials, 182
- disabled people
- accessibility for, 10–11, 38, 202–3
- inclusive design for, 105
- discovery, 64–65
- Docomomo, 146
- documentation in design process, 61
- in programming process, 148
- double-height volume, 204
- downlighting, 113
- durability, 66–67
- Dürer, Albrecht, 150
- Eames, Charles, 80
- Eames, Ray, 80
- earth tones, 194
- east-facing rooms, 145
- egress, 68–69
- electric lighting controls, for daylighting, 131
- emotionally durable design, 66
- emphasis, 70–71
- energy efficiency, for sustainability, 184
- ergonomics, 72–73
- exits, 68–69
- external reflection of light, 130
- feature lighting, 113
- Feng Shui, 88, 89, 142
- finishes, 74–75
- flex spaces, for adaptability, 14
- flooring
- durable, 67
- with grids, 86
- floor plans, open, 14
- foot candle, 112
- form, 76–77
- “Form follows function,” 78, 142
- Frampton, Kenneth, 158
- Fresnel effect, 182
- Fromm, Erich, 30
- Fuller, Buckminster, 41
- function, 78–79
- furniture, 80–81
- as anchoring element, 20
- asymmetrical arrangement of, 18, 19, 25
- casual ergonomic, 73
- craft, 54–55
- for harmony, 88
- modular, 25, 99
- multifunctional, 14
- multi-use, 102
- small-scale model, 151
- strategic placement of, 71
- general illumination, 113
- geometric form, 76
- geometric shapes, 168
- geometry, 82–83
- Golden Ratio, 154
- golden thread, 156
- Goltsman, Susan, 104
- gradation, 84–85, 162
- Great Wave off Kanagawa, The, 128, 129
- grid, 86–87
- Gropius, Walter, 54
- Guggenheim Museum, 76–77
- haptic hierarchies, 92
- hard surfaces, durable, 67
- harmony, 88–89
- Health, Safety, and Welfare (HSW), 90–91
- healthy environments, for sustainability, 184
- heavy textiles, as anchoring element, 20
- height considerations, for accessibility, 10, 11
- hierarchy, 92–93
- history, 94–95
- Hokusai, Katsushika, 128, 129
- horizontal circulation, 36
- horizontal lines, 114
- horizontal surfaces, as anchoring element, 20
- hue, 96–97, 124
- human-centered design, 98–99
- human scale, 100–101
- Humanscale Manual, The, 101
- hybridization, 102–3
- hygge, 142, 143
- “Immersive Planning” study, 208
- imperial system of measurement, 118
- inclusive design, 202
- inclusivity, 104–5
- innovation, 106–7
- inspiration, 108–9
- interior design principles, 7–9
- interior design profession
- about, 7
- history of, 94–95
- internal reflection of light, 130
- Itten, Johannes, 46
- Itten’s Color Wheel, 46
- jewel tones, 194
- juxtaposition, 52–53
- Kahn, Albert 182-3
- Klee, Paul, 84
- Klint, Kaare, 55
- Knoll, Florence, 149
- lagom, 142
- Landmarks Preservation Commission, 146
- layering, 110–11
- Leatherbarrow, David, 74
- life cycle assessment, for sustainability, 184
- light(ing), 112–13
- Lighting Library, 112
- line, 114–15
- linear economy, 35
- lower environmental impact, for sustainability, 184
- low volume, 204
- lumen, 112
- Lynch, Kevin, 206
- MacArthur, Ellen, 34
- Mace, Ronald, 202
- materiality, 116–17
- materials
- in biophilic design, 31
- NRCs of, 13
- as red thread, 156
- measurement, 118–19
- Memphis Group furniture, 109
- metallic surfaces, 182
- metric system of measurement, 118
- Mingei movement, 54
- modeling, 120–21
- modularity, 99, 122–23
- monochromatic color scheme, 44, 45
- monochrome, 124–25
- mood, mood boards, 126–27
- Morandi, Giorgio, 195
- Mostafavi, Mohsen, 74
- movement, 128–29
- multifunctional furnishings, 14
- multi-height volume, 204
- Munsell, Albert, 46, 96
- Munsell’s Color Sphere, 46, 96
- narrow volume, 204
- National Trust for Historic Preservation, 146
- natural form, 76
- natural lighting, 16, 23, 30, 50, 58, 91, 130–31, 136
- nature
- connection to, 30–31, 50, 51
- shapes inspired by, 168
- negative space, 174
- Newton, Isaac, 46
- Newton’s Color Circle, 46
- Noise Reduction Coefficient (NRC), 13
- north-facing rooms, 145
- objects, as anchoring element, 20
- observation phase, of design process, 61
- occupancy loads, 132–33
- office seating, ergonomic, 72
- opacity, 196
- open floor plans, for adaptability, 14
- open (prescriptive) specifications, 176
- organic forms, 134–35, 168
- orientation, 136–37
- Ottoman Empire, craft of, 54
- patterns, 31, 138–39
- perspective, 140–41
- philosophy, 142–43
- placement, 144–45
- plants, in biophilic design, 30, 31
- platonic solid, 76, 82
- positive space, 174
- predesign phase, 16, 60, 148
- preservation, 146–47
- pricing phase, of design process, 61
- product and type, in hybridization, 102
- programming phase, 148–49, 208
- progression in rhythm, 162
- proportion, 150–51, 166
- prototyping, 152–53
- purpose and function, in hybridization, 102
- radial balance/symmetry, 27, 188
- ratio, 154–55
- recycling, for reducing waste, 34–35
- redirection devices, for daylighting, 131
- red thread, 156–57
- regionalism, 158–59
- repetition, as type of rhythm, 162
- representation, 160–61
- research, in programming process, 148
- reverberation times (RTs), 12
- rhythm, 162–63
- rule of thirds, 164–65
- Runge, Philipp Otto, 96, 97
- sacred geometry, 83
- scale, 84, 166–67
- shade, 124
- Shaker style, 54
- shape, 168–69
- sight lines, 170–71
- 60-30-10 Color Rule, 44
- sketch plans, for testing adjacency needs, 17
- skylights, 23, 131
- Smithson, Alison, 74
- Smithson, Peter, 74
- social impact, 172–73
- Social Impact Framework Diagram, 173
- Soetsu, Yanagi, 54
- solar orientation, 136
- solar shading devices, for daylighting, 131
- solar tubes, for daylighting, 131
- sound
- for harmony, 88
- hierarchy emphasizing, 92
- sound and smell, in biophilic design, 30
- sound waves, reverberation of, 12
- south-facing rooms, 145
- space, 174–75
- for accessibility, 10
- adaptability of, 14–15
- layering in, 110–11
- space planning
- circulation in, 36
- in predesign phase, 16
- zoning and, 208
- specifications, 176–77
- split complementary color scheme, 45
- Still Life, 195
- storytelling, 178–79
- strategic placement, emphasis by, 70
- Study of the Graduations of Shadows on Spheres, 84
- style mixing, in hybridization, 102
- styling, 180–81
- Sullivan, Louis, 78
- surfaces, 182–83
- for accessibility, 10
- durable wall, 67
- vertical, for anchoring, 20
- sustainability, 184–85
- symbolism, 186–87
- symmetrical balance, 26
- symmetry, 188–89
- tactile textures, 192
- tactility, in universal design, 202
- technical details, 62
- technology, 190–91
- for increasing accessibility, 11
- in universal design, 202
- technology accessories, ergonomic, 73
- tetradic color scheme, 45
- texture, 192–93
- gradation in, 84
- monochrome palette and, 125
- of surfaces, 182
- theme, as red thread, 156
- three-dimensional modeling, 120
- Three Houses, 84
- tint, 124
- tone, 124, 194–95
- touch
- for harmony, 88
- hierarchy emphasizing, 92
- transitional rhythm, 162
- translucency, 196, 197
- transparency, 196–97
- triadic color scheme, 45
- typology, 198–99
- unity, 200–201
- universal design, 202–3
- upholstery
- durable, 67
- patterns in, 138
- uplighting, 113
- van der Rohe, Mies, 140
- vertical access, for accessibility, 10
- vertical circulation, 36
- vertical lines, 114
- vertical surfaces, as anchoring element, 20
- Vier Bücher von Menschlicher Proportion, 150
- visual texture, 192
- visual unity, 200
- Vitruvian Man, 100
- volume, 204–5
- volumetric grids, 86
- wabi sabi, 142, 143
- waffle slab, 86
- wall coverings, with grids, 86
- wall surfaces, durable, 67
- warm tones, 194
- waste reduction, 34–35, 184
- water, in biophilic design, 30
- wayfinding, 206–7
- west-facing rooms, 145
- wheelchair users, accessibility for, 10–11, 203
- wind orientation, 136
- windows, for daylighting, 131
- workplace
- ergonomics in, 72–73
- Health, Safety, and Welfare in, 90–91
- human-centered design in, 98–99
- World Heritage Sites, 146
- Wright, Frank Lloyd, 76, 187
..................Content has been hidden....................
You can't read the all page of ebook, please click
here login for view all page.