Commercial and Retail Design Portfolio
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Commercial Design Diploma Programme Portfolio where the student has devised designs based on the concept of Geometry . The space planning areas by the student are restaurant design ,retail design and office design. Commercial design of Dezyne E'cole College is as per the NSDC QP aligned course as per the Industry Specification
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Commercial and Retail Design Portfolio
- 1. PORTFOLIO Interior Design By: Garima Sharma B.Sc. Interior Design + 2 year Diploma COMMERCIAL DESIGN
- 2. Project report on Commercial Design At Dezyne E’cole College, Ajmer Submitted to Dezyne E’cole College towards The partial fulfillment of the Bachelor of science in Interior Designing BY Garima Sharma Dezyne E’cole College 106/10, civil lines, Ajmer Tel – 0145 – 2624679 www.dezyneecole.com 2015 - 16
- 3. ACKNOWLEDGEMENT The project “ commercial Design” has enlightened me about various aspects of planning and designing a commercial space. The success and final outcome of this project required a lot of guidance and assistance from many people and we extremely fortunate to have got this all along the completion of our project work. I give my sincere thanks to ‘Dezyne E’cole College and to my mentors who gave me opportunity to know various aspects of commercial design and helped me in preparing my project I thank Mrs. Vinita Mathur for guiding me on various design parameters with due regard Garima Sharma B.Sc.. Interior Design
- 4. Dezyne Ecole College 106/10 Civil Lines Ajmer- 305001; Rajasthan This project of Ms. Garima Sharma student of Bachelor of Science in Interior Design of one year diploma in commercial design has been checked and has been graded as ________________________________________________ Thanking you Principal [seal signature] GRADE SHEET
- 5. SYNOPSIS OF PROJECT Interior design has two major parts Residential design and commercial design. In the 1st year of my diploma program I learnt about residential design and in 2nd year I studied about commercial design. Commercial design is related with designing the space like hospitality design, retail design, office design etc. Commercial design is the design of any facility that serve a business purpose. During the tenure 2nd year commercial design I learnt about various aspects of commercial design like office design, restaurant design and retail design. Commercial design includes everything from small retail spaces to malls, small saloons to higher end boutiques, healthcare clubs to gyms, roadside dhabas to the higher end a-la-carte restaurants. Commercial design space should be LEED certified, sustainable, licensed and universally applicable for everyone. For designing any space it is important to have a DESIGN CONCEPT . Design concept has two major parts verbal and visual. Verbal includes space planning, requirements etc where as visual design includes what a person seeing visually. Visual design can be created with the help of elements and principles of design. During the study of retail design I learnt that retail design is divided into three parts such as exterior presentation , window display and interior presentation of the store. The exterior presentation includes store sign, marquee, banners, awning, landscaping , walks and entries.. The store sign should be visible and easy to read . Marquee is a sign used at the entrance of the store which help customers to locate the business. Banners are another form of advertising or the way to display the sale or discount in the store.. Awnings help to protect the customers as well as the store exterior from direct sunlight and other aspects. Landscaping provides a pleasing appearance to the building Window displays play a very important role as it is through which the customers gets attracted. People love to do window shopping. A person connects his lifestyle with the products he/she sees in the window display. A product is only sold when it is seen by the clientele and attracts him/her to that extent that he/she decides to buy. The Window Display either depicts some story, concept or theme that attracts the clientele and increases the footfall for the store. Interior presentation is also important as it depends on the interior presentation that how much customers will go out after buying the product. It should be well organised. Interior presentation generally includes butt brush effect, dressing rooms, seating area, transition zone, sound smell etc. the display of merchandise and background colour is also very important in designing of retail spaces.
- 6. SYNOPSIS OF PROJECT After learning about retail design I was given a case study of a leading furniture brand Stanley in which I was supposed to provide space for one, two and three seater sofa set and bedroom set along with wardrobe . I was provided a plot size of 57’3” x 37’1”. I did the space planning for whole store in which I incorporated Straight Plan and did the designing of the four cubicles of the store as it was not possible for me to design the whole store. The next I learnt was the Restaurant Design. Restaurants are the spaces which serves the purpose of eating very well. It is a place where preparing and serving of food is done in exchange of money.. People go to the restaurant for the following reasons: to enjoy the cuisine, to celebrate some occasion, to have meetings etc. Restaurants have great ambience, nice music along with good food. Restaurants are of different types like roadside dhabas, a-la-carte restaurants, fast food outlets, self-service, third places like coffee shops, ice-cream parlours, juice centres etc. For doing the space planning of a Restaurant we have to follow the space considerations like, volume and type of service, suitable traffic aisle, type of equipment to be used etc. We also have to see how much sq.ft. space per seat requires for different type of operations. The number of seats given in the dining area are also to be paid attention to. They are calculated by the formula R=N/T where R is rate of people leaving serving area, N is the number of seats in a dining area and T is the average time required for eating. I learnt that the diagonal seating arrangements are better because they require less space. Along with this the Turnover Rate is also important, it is estimating the average time a seat is occupied. After learning about the Restaurants I was given a case study in which I was suppose to do the space planning and designing of the space. The space provided was 46’x 50’. Before starting the case study I did the swot analysis of the restaurants of Ajmer after that I took out the loop holes To start any project the designer should have an inspiration. I took geometry as my inspiration then I studied about various style which were having geometry from all styles o chose Chines style as concept for my restaurant. I did the space planning of whole restaurant. For designing part I chose two walls as it was impossible for me to design the whole restaurant in the given time period. I designed the wall of a reception area and another wall of ice cream parlour area which was based on Chinese style. I also did the product designing for reception desk and ice cream counter. After that I also learnt about various aspects of office design. The goal of office work is almost to provide specific task accomplished by individuals and groups that assists in achieving the overall goal of the business. The office design project is still in the making
- 7. PROFILE EXPERIENCE I am Garima Sharma pursuing my Bachelors of Science in Interior Design with two year advanced Diploma Program from Dezyne E’cole College, Ajmer. I am a good listener as well as a good learner. Dezyne E’cole has helped me to develop my skills. Residential Project-- • Residential Space Planning • Wardrobe Design • Elements Of Style • Product designing • Lighting Design Commercial Design-- • Retail Store’s Designing and space planning • Restaurant’s space planning and Designing • Print making PERSONAL SKILLS INTERESTS EDUCATION • Music • Google • Designing • Pinterest LANGUAGES • English • Hindi BSc. in interior design from Dezyne E’cole College, Ajmer (2014-2017). 12th CBSE board from All Saints School, Ajmer (2013-2014) 10th CBSE board from All Saints School, Beawer Road, Ajmer (2010-2011) dezyneecole@gmail.com 9829024839 0145-2629679 www.dezyneecole.com GARIMA SHARMA- INTERIOR DESIGNER • Hardworking • leadership quality PROFFESSIONAL SKILLS • Google Sketch up • AutoCAD • Autodesk 3ds max • Microsoft PowerPoint • Microsoft word
- 8. COLLAGE WITH DESCRIPTION Working in innovation lab. Material lab. Reading magazine in Library. Working in drafting lab. Reading in Library.
- 9. 01 Introduction- Interior Design 02 Student Profile 03 Introduction- Commercial Design 04 Retail Design 05 Restaurant Design Office Design06 FEATURES Lighting Design07 My Assignments CONTENT
- 10. DESIGN INTERIOR
- 12. INTERIOR DESIGN INDUSTRY Interior design is the art of process of designing the interior, often including the exterior, room of a building etc. interior design is a multifaceted profession that includes conceptual development, communicating with the stakeholders of a project and the management and execution of the design What is interior design? Interior design is the total creative solution for a programmed interior. It encompasses the conceptual planning, aesthetics and technical solutions applied to achieve the desired result. A “ programmed interior” means a specific intended purpose or use of the built environment. Interior design concern itself with more than just the visual or ambient enhancement of an interior space, it seeks to optimize and harmonize the uses to which the built environment will be put. It is the collaboration of elements of design with principles of design. The designer must have an aesthetic, practical and technical appreciation for these elements. He or she must understand how people use and respond to these elements Why Interior Designing? Interior designing give an appearance or the look to a room or space. It is not about just what looks pretty or aesthetically pleasing and is more than just selecting fabrics and paint colors. Need of interior designing? It is a process to provide solutions and interior designers are the problem solvers. They grab to the heart of the issue and design spaces that have the junctions, aesthetic and quality that the client is looking for
- 13. When designing, interior designers are thinking of how to transform people’s lives and make their quality of life better. Interior designer affect how people live, move through space and interact with interior environment on a daily basis, across the globe. Interior design mainly divided in 2 types Residential Commercial Residential Residential design is the design of the private residences. Space designed in residential space should have the feeling of relaxation. In this design the needs and wants of the individuals are considered important. Commercial Commercial design is the design related to commercial spaces like offices, restaurants, hospitals etc. the main purpose of designing the commercial space is to maximize sales of products or services and to generate profit from customers. Commercial design encompasses wide range of sub specialties. • Retail space • Heath care • Hospitality/ Restaurants • Offices • Theaters • Auditorium • museum
- 14. In the further slides I have explained the commercial design in detail.
- 16. RETAIL DESIGN RESTAURANT DESIGN OFFICE DESIGN
- 17. COMMERCIAL DESIGN Commercial interior design is the process of creating and overseeing the construction or renovation of a commercial space. Involving much more than simply decorating the interiors of the space, commercial design will address such issues as the choice of building materials, the layout and placement of interior walls, plumbing and power systems and even coordinating communications with construction professionals, owners and service providers. This level of interior design requires the interior designer to have a solid working knowledge of architecture, as well as a sense for creating functional and attractive setting within the space. Commercial interior designers design public spaces such as office buildings, community centers, museums, hotels, stores, warehouses and libraries. In commercial design, the designer have to create an environment that includes functional and aesthetics A commercial designer’s work includes selecting paint colors, choosing artwork, accounting for acoustics and lighting, picking appropriate furniture and placing all these together in the manner most appropriate to the venue. Interior design who specialize in commercial interior design often work with the clients to develop a plan that begins with actual construction or renovation of the building. At the same time, ideas about ceiling and lighting options should also be taken out, as well as ideas about how to best arrange the interior space to meet the needs of clients.
- 19. Many designers specialize in one or more of the following areas of commercial design. 1. ENTERTAINMENT Entertainment design begin together with the use of interiors , lighting, sound and other technologies for movies, television, videos, dramatic and musical theatres , clubs, concerts, theme parks and industrial projects 2. HEALTH CARE Health care designers create environments for hospitals , clinics, examination rooms, surgical suits, nursing or any health care environment. 3. HOSPITALITY / RESTAURANTS Hospitality design focuses on environments that entertain or host the public, including night clubs, restaurants, theatres, hotels, city and country clubs etc. 4. OFFICE Office design focuses on public and private areas utilized by corporate and professional service firm. 5. RETAIL STORE PLANNING Retail design concentrate on retail venues like boutique, department stores, outlets, showrooms, food retailing centres and shopping malls. The three parts of commercial design: - Retail - Hospitality space - Office Are explained in further slides
- 20. RETAIL DESIGN
- 21. Retail is the process of selling the consumer goods or services to customers through multiple channels of distribution to earn profit. Shops may be on residential streets, streets with few or no houses, inside malls or in a pedestrian only. RETAIL
- 22. SHIFT IN RETAIL RETAIL 01 The power in hands of manufacturer. RETAIL 02 The power is in hands of retailer. RETAIL 03 The power is in hands of consumer.
- 23. 1. Specialty Store:- It carries narrow product line, they can be apparel store, florist and book store having a deep assortment within the line. 2. Super Market:- It’s a large, low cost, low margin, high volume, self service operation. They have been designed to serve the consumers total needs for food laundry and household maintenance. TYPE OF RETAIL STORE
- 24. 3. Departmental Store:- It carries several product line, clothing , home furnishing and household goods. Each department over here is managed by a specialized buyer or a merchandiser. 4. Hyper Market:- These are even larger. It contains supermarket, discount store, ware house along the other stores.
- 25. 5. Super Store :- Combination of Hyper Market and super store’s average 35000 sq.ft of selling space. They have the total needs of the consumer. They offer services like shoe repairing, dry cleaning, lunch counters etc. combination 6 .Off Price Retailers:- They are ordinary discounters who sell at wholesale price. .
- 26. 7. Discount Store:- A discount store sells standard merchandise at a lower price by accepting lower margins of profit. 8. Convenience Stores:- These are located near to the residential areas and are opened seven days a week for long hours and they are relatively small store.
- 27. Do you ever wonder why customers leave retail stores empty handed? It may have something to do with retail design of the space and location of merchandise if we considered how people shop, it may tell us something about how retail environments need to be designed to maximise customer purchasing. HOW DO CUSTOMER BUY?
- 28. THERE ARE TWO TYPES OF METHODS OF BUYING Traditional method In traditional methods customer was not using his five senses. Modern method In modern method customer is using his five senses for buying.
- 29. People use their five senses while buying any product 1. Sight 2. Nose 3. Ears 4. Touch 5. Taste
- 30. HOW DO CUSTOMER LOCATES BUSINESS ? • Before considering all the points of retail design the major decision a store has to make is the location. The location of the business outlet plays a significant role on its performance. • Along with the location of a store, Road marks and road signs are helpful in locating a business to customers. They should be attractive and should be different the competitors road signs. • They should be visible from the distance and should be well illuminated so that the customer can locate, radium's are the best form for illuminating the road signs for making it visible. • The most important is the exterior sign of a store ”a sign is a silent salesperson” and a part of shoppers first impression of a store. • Name of the store has to be bold, simple, large, easy to read, well designed and should convey a feeling of welcome.
- 31. A STORE IS DIVIDED INTO VARIOUS PARTS:- • Exterior Presentation • Window Display • Interior Presentation • Visual Merchandising • Entrance • Circulation
- 32. How a store visually welcomes customer has a lot to do with whether or not they enter the store. Although good prices and positive word of mouth, advertising is important, it is hard to overcome the negative image of a poor store exterior. Exterior Presentation of retail store includes:- Store Sign Store Name Marquee Banners Awnings Walks and EXTERIOR PRESENTATION EXTERIOR PRESENTATION
- 33. A sign is a silent sales person and a part of shoppers first impression of a store. In less than 10 seconds the sign must attract attention and tell who the business is and what it has to sell off premise. Signs provide information and direction specially for travelers ad new residents. Sign can also help communicate a poor location. A sign design conveys a great deal about the business inside. A stark design(simple) and limited material suggest discount price and no frills shop. Elegant and expensive sign material may suggest luxury goods and services. When preparing a sign do not forget to consider size, shape, material, lettering, height, placements and structure. The stores sign is its signature. The lettering should be large enough to read from 200 feet, which is the distance required to stop a car travelling 40Kms/ hour. Signs with 8 inch letters can be read from a distance upto 250feet. A car travelling 55Kms/ hour need about 400feet to stop, so our design will require 12 inches lettering sign to be read at that distance. Signs should be used to target a specific market segment such as youth, women, senior citizens, singles etc. When you have several rectangular sign in close proximity to each other, construct an oval or circular sign that stands out. Consider the signs relationship with its surroundings. Simple, well designed, easy to read signs convey a feeling of welcome. Focus on one or two key words to describe business. 1. EXTERIOR OR STORE SIGN
- 35. 2. STORE NAME Name of the store has to be bold, simple, large, easy to read, well designed and should convey a feeling of welcome. The height of the letter of the sign should be minimum 8 inches. The name should have self illumination. The proper optical space should be given in the name of the store otherwise customer will not be able to read. Three types of fascia sign are:-
- 36. A special type of sign to display the name of the store. It can be sometimes a kind of permanent canopy at the entrance or on top of the building to promote the showcasing of season display, an effective marquee must stand out from other businesses to attract attention. 3. MARQUEE
- 37. 4. BANNERS Banners are used increasingly as an inexpensive eye catching means of promotion. Banners can be hung from flat poles or projected from the building. This leads to making the consumer feel that change are taking place.
- 38. 5. AWNINGS The window awnings provide the customer with protection from weather and makes viewing of the window display more pleasant as it reduces heat, cuts down on glare and reflection and prevents fading of merchandise from exposure to the sun. it adds appeal to the window display. May businesses use black lit awning, electrical awnings. A variety of styles of awnings are available square, long dome etc. the fabric of canopy is vinyl it can be translucent/ transparent.
- 39. 6. WALKS AND ENTRIES 75% of the first time customer remember the store front. It provides the first and the last view of the stores interior. Picture walking along the wall where the flat surface is plain glass door, as opposed to the protective feeling offered by walking under a porch or canopy. Entrances that allows shoppers to come into a store without being aware of their entry is becoming more popular . Whenever we add an entry way it should be designed to blend with the architecture of building.
- 40. 7. LANDSCAPING Landscaping should lead the customers eye to the focal point using color and texture to provide contrast and harmony. The focal point is the business sign and the building itself. Landscape screens the undesirable sight such as power transformer, refrigeration equipment's, garbage areas etc. The essence of good landscaping is simplicity that means the designs that are easy to maintain. A proper landscaping increases the acoustics of a place. Use benches for resting and relaxing in the landscape done in front of the retail outlet, this encourages the customer to stay longer.
- 41. The design of the entrance to a store is very important. It needs to entice the customer in and give a glimpse of the products beyond the threshold. Entrance that allow shoppers to come inside the store without being aware of their entry, is becoming more popular. Whenever we add an entry way it should be designed to blend with the architecture of living. ENTRANCE
- 42. Traditional shop front Contemporary shop front SHOP FRONT
- 43. Traditional shop front Façade of building Symmetry Modest graphics Standards fonts and colors Mannequins
- 44. Contemporary shop front Frameless Transparency Graphic language Live colours Story telling and scenography
- 45. Points to be considered in entrance are: Exterior: Façade, Logo Threshold, transition Shop windows Transparency Interaction Mistry, posters Display
- 46. The window display’s main task is to communicate to potential customers the essence of the interior and to display a glimpse of what can be found on the other side of the glass. The shop front is a draw to buyers to make them feel comfortable when approaching the store and venturing over the threshold. • It is a major factor often overlooked in the success or failure of a retail store. • Attractive product display highlight the display and the focus of the merchandise increases. • By a pleasant room temperature, attractive general lighting and nice fragrance, along with suitable background music increases the purchase decision. • Shop Windows are regularly updated i.e. within 15 days to show the latest products in the store. .Points to be followed here are:- • Principles of design • Color and Lighting • Influence of background colour on Merchandise • Color Rules that can improve Display • Colors to be used for displaying Merchandise • Props, fixtures & signage – floor covering, wall treatment, background & backdrop, mannequins, shelves & steps • Non-merchandise props- Desks, tables, chairs, shopping bags, pencil, pen, paper WINDOW DISPLAY
- 47. WINDOW DISPLAY
- 48. INTERIOR PRESENTATION It requires particular attention in specialty shops. Types range from displays of staple goods which assist customers in selection, to displays of accessories which the sale of staples may suggest to the customer. Problems of arrangement regarding to merchandise, departments and routes of customers approach are involved. Experienced sales people can tell at a glance the customer who is satisfied with shopping and too bewildered to buy. After he has been refreshed by a brief rest, the customer’s interest can be recaptured quickly. Such relaxation may be mental or physical, or both. Interior Presentation of retail store includes:- • Store Layout (Plan) • How to organize store space • Selling Area • Point of Sales • Transition Zone • Butt-Brush Effect • Chevroning • Seating Area • Dressing Rooms • Sounds And Smell • Floor • Wall • Ceiling • We need to make the important element placed at the right side.
- 49. TYPES OF PLANS For any store design there are six basic plan types 1. Straight plan 2. Pathway plan 3. Diagonal plan 4. Curved plan 5. Varied plan 6. Geometric plan
- 50. STRAIGHT PLAN This is the conventional form of a layout that utilises walls and projections to create smaller spaces. It is a very economical plan to execute and can be adapted for any store, for gift shops to apparel outlets, drug, grocery shops to departmental stores. Variety in this kind of plan is developed by niche with the merchandise the merchandise here pulls the customer to the back of the store.
- 51. PATHWAYS PLAN Path way plan pulls through the rear. It is generally made for large stores which are 5000 sq. ft. of more and on one level. In between the path there are no fixtures or any interruption. This path can take any shape and can create any design pattern. The designer can use the floor or ceiling for directional purpose.
- 52. CIRCULAR PLAN People respond to circular and curved shapes they soften the angular and square plan Curved plans shows premium product and generally used for boutiques, salons and high quality stores. Special environments also costs more in creation.
- 53. VARIED PLAN Varied plan illustrates added variety of forms which can work to a designer advantage, For products that require back up merchandise to be adjacent. ( shoes and men’s shirts, for e.g..) the varied plan is highly functional. It is a variation of straight plans where the square footage for keeping boxes can be done along the perimeters of the shop. “ this plan has ‘bellows’ effect .
- 54. DIAGONAL PLAN Diagonal pattern permits angular traffic flow and creates perimeter design interest and excitement in movement. Central placement of cash- wrap permits security and vision. Mainly used for self service stores
- 55. GEOMETRIC PLAN Geometric plan can establish interest. Excessive cost ceiling and floors can be lowered or raised to create departments E- zones.
- 56. The Butt brush effect : Each customer has an area of personal space. This is an area that when invaded causes customers to feel uncomfortable. Personal space translated into a retail environment suggests that when a shopper is bumped or jostled while looking at merchandise, the may become uncomfortable, lose interest, and leave the area. Irritated shoppers do not tarry; in fact, they leaves before purchasing what they came for. Butt brush effect Less space for walking
- 57. Transition zone Every store has a transition zone or area where customers begin to slow their pace and make the transition from being outside of the store to being inside. This is the shopper’s “landing strip” what is important about the transition zone is whatever is located in the zone is pretty much lost on customers. If there is merchandise displayed in this area, customers are unlikely to see it. Transition zone Transition zone
- 58. Seating Area : As retail merchandising faculty, we spend times n stores looking how merchandise is displayed, how customers are treated, and how customers shop among other things. People like to shop with others whether friends, spouses, or other relatives. These shopping partners need a place to rest. If shopping partners have a place to sit, most likely they will not complain and shopping can continue for longer lengths of time.
- 59. Dressing Rooms : Many retailers want to minimize the non- selling areas(e.g. storage) of their stores. Some apparel retailers make the mistake of assuming that a dressing room is a non-selling area. Underhill noted that many retailers “think of dressing rooms as bathrooms”. We agree with Underhill that dressing room is a huge selling tool. Dressing rooms are the location where most apparel buying decisions are made. They should be easy to find otherwise a customer will leave without purchase.
- 60. Floors: Floors come in a variety of materials and finishes, but the key to a retail floor is durability. The expected lifespan of a floor finish can be anything from one years to 20 years depending on the retailer’s needs. The floor finish is used to define different areas within the store. Walkways, display areas and point of sale may all have different finishes within the same scheme.
- 61. Ceiling: The ceiling plays a huge role in the feel of the entire retail space. It is the architectural element that goes mostly unnoticed, but it is incredibly functional. The ceiling have light fittings, air- conditioning ducts, fire alarms and sometimes music speakers.
- 62. Walls: Walls are one of the most important elements in the retail environment. They support the bulking structurally, but they can be used to display vast amounts of products, create feature displays and have color, texture and pattern applied to them in different finishes. Walls act as a divider between product offers or areas, as a piece of sculpture in its own right, or to add focus to a space.
- 63. Sound and smell: Sounds and smells can influence consumer purchasing decisions. Many stores diffuse artificial fragrances through their heating and air-conditioning vents or place scent machines above their doors. It was found that aroma increased the number of customers purchasing items and amount of their purchases. It was found when subjected to loud music, customers will spend less time in a store. Customers shop longer when exposed to unfamiliar music
- 64. VISUAL MERCHANDISING Visual Merchandising or Visual Display is a major factor often overlooked in the success or failure of a retail store. It encourages impulse buying by the customer. It helps in creating a positive image of a business and results in interest and attention, so also desire and action on the part of the customer 80% of our impressions are created by sight and that is why one picture is worth a thousand words. Each customer has a mental image of the store and its merchandise. Some businesses maintain minimum staff to reduce cost which means we need to pay more importance to the merchandise display so that it makes the customer easy to find and purchase.
- 66. To execute a display to sell merchandise, it is necessary to have a working knowledge of the principles of design. The primary principles of design used in display include balance, proportion, rhythm, emphasis, colour, lighting and harmony. When applied appropriately all parts of the display are pulled together to create a purposeful, effective and aesthetically pleasing presentation. An understanding of these principles will make it easier to design a display for all types of merchandise. The Principles Of Design are:- PRINCIPLES OF DESIGN Balance Proportion Emphasis Rhythm Harmony PRINCIPLES OF DESIGN BALANCE PROPORTION HARMONY RHYTHM EMPHASIS
- 67. When a design is balanced in terms of texture, color, material, mass, size is called balance. There are two types of balance Traditional or symmetrical balance. Informal or asymmetrical balance. Traditional or symmetrical balance: Traditional or symmetrical balance is large on one side and large on other side. A space divided in two and the object kept on one side will b symmetrical to the object placed on other side. This is effective where expensive and quality merchandise is being presented. For example: jewelry BALANCE
- 68. Informal or asymmetrical balance: • Informal or asymmetrical balance creates flow of rhythm and feeling of excitement. • The two sides of display appear to be equal weight but the are not replicas of each other. • Something large can be balanced by several small objects.
- 69. It is the ratio of the parts to the whole of display. It can be done through various methods Proportion in Rectangle Proportion in steps Proportion pyramid PROPORTION:
- 70. Emphasis means to turn the eye from one object to other. Things to remember while designing are: For movement of eyes we can do alternate repetition of shiny and dull object. Dull surface absorb light and deemphasize. Shiny objects appear larger in size Colour is powerful tool for creating emphasis through intensity. EMPHASIS:
- 71. The viewer’s eye will lead from the dominant object to subordinate object or from primary presentation of grouping down to the arrangement of accessories or alternate parts of display. Flow by repetition of variety of positions RHYTHM :
- 72. Progression of size Continuous line arrangement rhythm.
- 73. Harmony is a coordinating umbrella principle that is used to incorporate all other principle. It is agreement in feeling of consistency in mood. Three forms of harmony are: • Functional • Structural • decorative HARMONY :
- 74. “Light Catches Our Attention And Lead Our Eyes” • A shopper’s eye is drawn automatically to the brightest item or area, we need to pay attention that the lighting used outside should be 2-5 times stronger than the lighting used inside the store • If the object is of warm colour warm light will be used • If the object is of cool colour, cool light will be used. COLOR AND LIGHTING
- 75. INFLUENCE OF BACKGROUND COLOR ON MERCHANDISE
- 76. • Leather goods:- A comfortable background color choice for leather goods in the mid value range such as beige or grey. This is the colors used and works well too for intimate apparel and ready to wear. • Infant and Toddler:- Green should be avoided, light colors such as pink, yellow, blue and whites should not be used as background colors in the infant and toddler area as they are the colors used in the merchandise sol. • The small size of garments and the generally light tones make the merchandise invisible. Brighter, sharper colors help these pastels stand out. • Girls and Boys Merchandise:- Background colors for girls merchandise should be neutral because of the extensive range of color there. Boys department go with bright colors because the clothes tend to bright or deep tones. • Brass Goods:- Browns and burgundies are great for displaying brass goods. Gift areas can use black and white with bright accents. • Hardware Store:- Bright orange, bright red and blue are appropriate colors to select for hardware stores as they provide best contrast with the wood handles and metals of hardware. • Sporting Goods:- Sky blue and tennis court green enhance sporting goods and equipments because of their outdoor associations. • Junior Department:- It utilize various color background depending on current fashion vogue. When neon colors are fashionable, white is suitable background but when subtle colors are in fashion, white is too cold and overpowering. • Men's Wear:- Dark green or dark blue colors used with neutral as accent is effective for men’s wear areas. Primary, secondary, peach, light blue and green colors should be avoided. • Grocery:- Stores that carry china and glass can effectively use grey, browns and blue background. Browns work especially well with bone china and blues are attractive with porcelain, grey can be used with either of china. Silver should not be shown on brown background because reflection will make silver appear tarnished. COLORS TO BE USED FOR DISPLAYING MERCHANDISE
- 77. After reading about retail and how a customer buy I have been given a case study of designing a furniture store.
- 78. I have been given a case study to design a store for a leading furniture and interior finishes brand Stanley. The space has to reflect the brand positioning, the range of products and brand image. The space has to be given due justice to the various sub categories of products, the space and the décor has to be modular and the space should have the ability to transform, move around and be utilized as per the product need. DESIGN BRIEF: The 2,109 sq. mts. Floor space is located on the ground floor of a premium mall in the upcoming suburbs of Pune. The façade and the store frontage are of prime importance to the client. The building is on a corner plot surrounded by two roads north and east side. The store is inside the mall and has no show window or external view. CASE STUDY
- 79. As per the case study, the requirements of my client are: •Cashier and help desk station •Customer interaction area •Sofa set display •Display of 2-3 bedroom sets •Display of 25 sofas •Wardrobes •Collection series Plan Elevation REQUIREMENTS
- 80. Before starting any design I need to do in depth study about the brand and what type of products it offers.
- 81. Stanley was founded in 1996 by Mr.Sunil Suresh current founder & CEO. Mr.Sunil Suresh started his journey as a young rebel at heart questing the ways of life and differences in the society, which created a base for his “why not” attitude. As a teen he ran away to Mumbai from his home town Bangalore and worked near Gateway of India, selling small leather products to the wealthy folks who stayed and visited the famous Taj Mahal Palace Hotel. His later job as a production manager in a leather garment company gave him tremendous exposure to the world of leather, fashion and luxury. STANLEY
- 82. STANLEY PRODUCTS
- 83. SPACE AVAILABLE FOR SPACE PLANNING
- 84. To design any store for retail space we need to understand it is like a Carte Blanche (blank document) and to design it in a proper manner we need to understand certain aspects which are enumerated below: RETAIL DESIGN EXTERIOR INTERIOR
- 85. CONCEPT For my design , first I have to choose a concept whether I go with traditional or I go with contemporary. I chose contemporary concept. Contemporary style encompasses a range of styles developed in later half of the 20th century. Interior contain neutral elements and bold colour, and the focus on the basics of line, shape and form. CONTEMPORARY
- 86. After selecting concept I made a look book to get some ideas of how my exterior façade would be.
- 87. Now I have to decide what type of exterior I want for my design. My exterior would be like : 1. Store front 2. Exterior sign 3. Font illumination 4. Window decal 5. Flooring tile 1 2 3 4 5 STORE FRONT
- 88. Before doing the space planning and designing of the interior space, I need to do the brain storming and idea generation to get the ideas so as to determine things that I need to pay attention to in my design.
- 89. BRAIN STORMING AND IDEA GENERATION
- 90. After doing space planning I studied about different types of plans such as geometric plan, pathway plan, straight plan etc. Then I chose that plan which utilized the space in the best possible way and fulfilled all requirements. In the subsequent slides you will come across with the plan chosen by me for better utilization of space, 2D and 3D elevations made and the designing done by me.
- 92. Beam3'3'x3'3"StorageStorage Partition wall6' Partition wall6'ChildrenBedroomSet 6''Raised flooring 3''Raised flooring Singleseater 3'x3' Beam3'3'x3'3"Beam3'3'x3'3" Beam3'3'x3'3" Pillar 3'3'x3'3" Door 4'9"x8'Door 4'9"x8' GlassFacadeGlass Facade PowerDisplayCashDesk PantryareaBedroomsetSingleseater Partition wall6' Bed6'x7'Wardrobe Beam3'3'x3'3"Beam3'3'x3'3" Bed6'x7' Wardrobe Single seater sofa FulllivingroomsetBedroomsetSingleseater sofa loveseat Storage 6'x7' Storage 6'x7' 7'-7"4'9"5'5"3'-3"5'5"4'9"5'5" 6"thickwall 3'-3"9'-9" 38'-1" 14'-9" 3'-3"10' 14'-9" 6'11'14'6'9'2"10' 58'-3" 38'-1" 7'8'-51 2"3'-3"11'-41 2"7' 14'-9" 6' 7'-3" 6'11'14'6'9'2"10' 58'-3" 3'-3"10' 14'-9" CommercialDesign FRONTELEVATION RIGHTELEVATION BACKELEVATION LEFTELEVATION Bedroomset 3''Raised flooring ChildrenBedroom Set StorageStorage SingleSeater SingleSeater Power DisplayPowerDisplay PowerDisplay loveseat Movable Display Pillar 3'x3' Bedroomset Wardrobe seatingarea coffee machine Pantryarea Cash Desk 7'5'-6"12'5'-6"7' 38'-1" 58'-3" 9' 9'-2" 6' 14' 11' 6' Pillar 3'x3' TransitionZone 10' TransitionZone 10' Beam 3'3'x3'3" ThisfurniturestorelayoutconsideringtheStraightplanin proposedareaof37'-1"x57'-3"withthespaceplanning shownherewiththetopalongwithfourelevations. RETAILDESIGN
- 94. COMMERCIAL DESIGN .......Retail Design // Furniture Store PowerDisplay//STANLEY
- 96. COMMERCIAL DESIGN .......Retail Design // Furniture Store PowerDisplay//STANLEY
- 98. COMMERCIAL DESIGN .......Retail Design // Furniture Store Cubical//STANLEY
- 100. COMMERCIAL DESIGN .......Retail Design // Furniture Store Cubical//STANLEY
- 102. RESTAURANTDESIGN
- 104. Restaurant is a place where people socialize. People go down to restaurants for number of reasons, most of the times its some occasion people want to celebrate that brings them to restaurant, bored of cooking, eating out gives them a chance to break from the cooking schedule. WHAT IS RESTAURANT?
- 105. For designing the interiors of a restaurant, we have to study the space requirements. Adequacy of the space will influence building and operating costs and efficiency and decisions pertaining to space allowance may be strongly affected by the limitations of investment funds and available space. Space allowance in relation to investment should be balanced in terms of : • Proposed permanence of the facility. • Acuteness of need for the specific operation. • Essentials for operating efficiency. • Desirable standards in terms of appearance, sanitation & good quality of production and service. • Immediate & future costs, depreciation, upkeep and maintenance. Studies made before the building is planned as to how space may be added and how the initial plan should be designed to minimize ultimate cost will be helpful. It is well to block out space allowances according to functions that the facility is to perform. Calculate area requirements in terms of : • Volume & type of service • Amount & size of equipment to be used. • Number of workers required. • Space for needed supplies. • Suitable traffic area. The dining area location & space allowance are usually determined first, the production areas next in terms of specific relationship to the dining area & the other section as required to these.
- 106. Space for dining area is usually based on the number of square feet per person seated times the number of persons seated at one time For example - Small children may require only 8sq. Ft. - Adult would need 12 sq. Ft. For the same. • A banquet seating allowance might be as little as 10sq.ft./Seat & for deluxe restaurant 20 sq.ft. • The diners comfort should govern allowance. Both young and old enjoy having sufficient elbow room. • Crowding is distasteful to many people, it is likely to be tolerated more readily by youngsters then adults. • Service stations may be estimated in the proportion of a small one for every 20 seats or a large central one for every 50-60 places. TYPE OF OPERATION SQ FT / SEAT Cafeteria, commercial 16-18 Cafeteria, college & industrial 12-15 Cafeteria, school lunchroom 9-12 College residence, table service 12-15 Counter service 18-20 Table service, hotel, club restaurant 15-18 Table service, minimum eating 11-14 Banquet minimum 10-11 Table 1 – Square feet per seat used for various types of food operation
- 107. Turnover rates can be increased to some extent by many design and operational factors. This is not to suggest that all facilities should be designed for high turnover rates. However, if high turnover is one of the basic objectives, then the planner and subsequent manager can do the following to accomplish this: • Use menu items that require short processing times, or use pre-dominantly preprocessed items. • Provide ample production space and equipment to handle the peak periods. • Use well-lighted and light-colored painted areas for serving and dining. • Arrange dining tables in close proximity to each other. • Develop a somewhat uncomfortable dining seat design. • Provide sufficient service personnel so guests are served promptly after they are seated • Provide for prompt clearing of the tables when a customer is finished with a course or the entire meal. • Make sure guest checks are presented to customers as soon as they are finished eating. SERVING AREAS • Space allowances for serving areas should be adapted to the needs of the specific facility. The menu, organization of work, and the number served will influence size. The type of service will also be influential in dictating space needed. • Serving areas for most table service facilities are planned as a part of the main cooking area. • Ideal design results when the flow of people from the serving facility is balanced with the seating available in the dining room. • At equilibrium conditions, the number of seats provided in the dining area has a direct relationship to the number of people leaving the serving line for a given average eating time. • The relationship can be expressed by the equation : R = N/T R = rate of people leaving serving area N = number of seats in dining area, and T = average eating time
- 108. Employee dining Refrigerator & frozen storage Employee facilities Linen and paper storage Common storage Vegetable preparation Ventilated storage Cleaning supplies Garbage pick up Car and truck washing Janitor closet Time recorder Bake shop Fountain service Cook’s unit Meat preparation Salad & sandwich unit Pot & pan washing & storage Dishwashing Short order Servingarea Diningroom andcatering Manager’s office Guest facilities
- 109. When space is too small, labor time and efforts are likely to increase and the volume and quality of output decrease. When it is too large, building and maintenance costs are excessive. Ample space is sometimes provided by means of low-cost materials and equipment of such inferior quality that they have short and unsatisfactory service life. Space allowances in relation to investment should be balanced in terms of: -- proposed permanence of the facility -- acuteness of need for the specific operation -- essential for operating efficiency -- desirable standards in terms of appearance, sanitation and good quality of production and service -- immediate and future costs, depreciation, upkeep and maintenance Requirements will vary for facilities of a given type and volume. Production and storage requirements will be affected by location; type of operation; clientele; frequency of deliveries of supplies; kind of food used, such as fresh, frozen, or canned; and the completeness of processing to be done. The policies of those in charge will have an influence. Certain general information such as numbers to be served turnover, arrival rate, and type of service will be helpful in deciding dining area needs. Area requirements are calculated in terms of:- -- volume and type of service -- amount and size of equipment to be used -- number of workers required -- space for needed supplies -- suitable traffic area SPACE REQUIREMENTS
- 110. Area requirements are calculated in terms of:- -- volume and type of service -- amount and size of equipment to be used -- number of workers required -- space for needed supplies -- suitable traffic area The dining area location and space allowances are usually determined first, the production areas next in terms of specific relationship to the dining area, and the other sections are required to these. I have planned according to the dimensions of Tie Savers Standards. all dimensions are pertaining to the standards. The dimensions will change if the person changes. The patron’s size and the type and quality of service should be considered. Small children may require only 8 square feet for a type of service in which an adult would need 12 square feet for comfort. A banquet seating allowance might be as little as 10square feet per seat and that for a deluxe restaurant as much as 20 square feet. The diner’s comfort should govern allowance. Crowding is distasteful to many people. Place settings for adults usually allow 24 inches and for children 18 to 20 inches. Service stations may be estimated in the proportion of one small one for every 20 seats or a large central one for every 50 to 60 places.
- 111. All of the areas in a dining room used for purposes other than seating are a part of the square footage allowed for seating. This does not include waiting area, guest facilities, cloakrooms, and other similar areas. Excessive loss or use of space for other than seating in the dining area will however, increase the needs. Small substations for silver, dishes, napery, beverages, ice, butter, and condiments may measure 20 to 24 inches square and 36 to 38 inches high. It is important that the table be of adequate size to accommodate the number of trays likely to be there. Four trays 14 by 18 inches fit better on a table 30 inches by 48 inches than on a table 42 inches square. Small tables, such as 24 or 30 inches square are economical for seating but are uncomfortable for large people. They are suitable in crowded areas with fast turnover and light meals. Tables for booths are difficult for waitresses to serve if they are longer than 4 feet. The maximum area best served by one waitress is generally 16 feet of counter. This will give 8 to 10 seats. A minimum passage area is 18 inches between chairs and, including chair area, tables should be spaced 4 to 5 feet apart. Diagonal arrangement of square tables utilizes space better than square arrangement and yields a more trouble-free traffic lane.
- 112. Table size influence patron’s comfort & efficient utilization of space and the best utilization of space can often be arrived at through the use of Diagonal Arrangement than square arrangement and yields a more traffic-free lane. Fig- 1. Rectangular and diagonal arrangement of tables. ‘NUMBER OF PERSONS’ ALLOWANCE The number of persons to be seated at one time is the second point of information needed for calculation of the dinning room size (Total no. of seats required x (Space required for each seat) = Total number of Sq.ft needed in at 1 time) Dining Area.
- 113. TYPE SHAPE MINIMUM SIZE(in.) SPACIOUS (in.) Table for 1’s or 2’s Square Rectangle Round 24 x 24 24 x 30 30 30 x 30 30 x 36 36 Table for 3’s or 4’s Square Rectangle Round 30 x 30 30 x 42 36 42 x 42 36 x 48 48 Table for 5’s or 6’s Rectangle Round 30 x 60 48 42 x 72 60 Drop leaf tables 30 x 30 in. opening to 42 in. round 36 x 36 in. opening to 52 in. round Table 2 - Typical sizes and shapes of dining tables Number of Person’s allowances:- The number of times a seat is occupied during a given period is commonly referred to as “turnover”. The turnover time is speed up 10 percent b patrons removing their soiled dishes so that the tables are quickly available for other guests. Deluxe service for leisure dining, involving removal and placement of several courses, takes the longest time. The calculation of occupancy of seats in a dining room must take into consideration a certain percentage of vacancy, except where a given number are seated at one time according to assignment. In table-service dining rooms this has been estimated as 20 percent of total capacity, in cafeterias from 12 to 18 percent, and for counter operations 10-12 percent.
- 114. The utilization of seating capacity tends to be greater for cafeterias than for table service. The patron may spend 25 to 50 percent of the time while seated at the table waiting for service. The cafeteria diner may begin eating as soon as he is seated. One cafeteria line can serve 4 to 8 patrons per minute depending on:- • Speed of the servers • The elaborateness of food selection • Convenience of the layout • Type of patrons Commercial restaurants located in shopping or office areas often have a heavier demand at noon than at the dinner hour. Kitchens serving a smaller number require a larger square footage per meal than those serving a larger number. The turnover is determined by estimating the average time a seat is occupied for the time period desired. For example, if the turnover is to be expressed on a per-hour basis and the average estimated time the seat is occupied is 20 minutes, the turnover rate is three. If the average seat occupancy time is 30 minutes, then the turnover rate is two per hour. Determining the turnover rate per meal period is useful for determining the total seating capacity based on estimated sales volume. Turnover rates are affected by the method of serving and serving time as well as by the type of customer, menu offerings and the dining atmosphere. Typical turnover rates for some types of food- service operations are given in table;-
- 115. Turnover rates can be increased to some extent by many design and operational factors. This is not to suggest that all facilities should be designed for high turnover rates. However, if high turnover is one of the basic objectives, then the planner and subsequent manager can do the following to accomplish this: • Use menu items that require short processing times, or use pre-dominantly preprocessed items. • Provide ample production space and equipment to handle the peak periods. • Use well-lighted and light-colored painted areas for serving and dining. • Arrange dining tables in close proximity to each other. • Develop a somewhat uncomfortable dining seat design. • Provide sufficient service personnel so guests are served promptly after they are seated • Provide for prompt clearing of the tables when a customer is finished with a course or the entire meal. • Make sure guest checks are presented to customers as soon as they are finished eating. TYPE OF OPERATION TURNOVER RATE (per hour) Commercial Cafeteria 1 ½ - 2 ½ Industrial or School Cafeterias 2 - 3 Counter Service 2 – 3 ½ Leisurely Table Service ½ - 1 Regular Table Service 1 – 2 ½
- 116. After studying about the restaurant design I have been given a case study of a restaurant which is shown in the subsequent slides.
- 117. CASE STUDY I am supposed to do space planning and create a restaurant for serving multi-cuisine. As a designer I need to create a floor plan for this restaurant which needs to feature reception, food serving area, toilet facilities and satellite kitchen. I need to provide location and give space for food receivable storage, main kitchen, dishwashing, pot and pan washing, garbage, maintenance department for this restaurant. I also need to provide security & the time machine(biometric), staff parking zone, restrooms with toilet & sleeping facilities. The recruitment division, the salary & training division (the HR department). I also need to specify the space for car parking of clients and the views on landscape provided by me for this restaurant.
- 118. Before starting the project I did the survey of the restaurants of Ajmer on the basis of things which I have learnt, I saw that no restaurant was made on the consideration of the points in previous slide. Then I did the S.W.O.T analysis of some of the restaurant which is discussed in the further slide.
- 120. S.W.O.T. ANALYSIS STRENGTH- Ajmer is a tourist destination. There are many people coming down to Ajmer from different parts of the world. People would like to go to a restaurant to have a nice meal. WEAKNESS- lack of good food joints and those restaurants which are present are not hygienic, where as, it is very important that a food outlet should be very neat and clean and tourist will not like to go to an unhygienic restaurant. OPPORTUNITY- it is a tourist destination and people come down to visit Pushkar, Dargah, Baradari etc. they have money to spend but don’t have a good and hygienic place to eat meals. A nice restaurant in such a location would really be a good opportunity. THREATS- there are no threats because there is lack of good food outlets. Hence there is no competition. A good outlet can become the opportunity for the owner.
- 121. After doing the SWOT analysis of restaurants of Ajmer, I did the survey of restaurants of Ajmer and took out the loop holes.
- 122. LOOPHOLES IN AJMER’S RESTAURANT After seeing so many problems in food joints of Ajmer, I did the thought process and took out the loop holes of the restaurants of Ajmer. They are- Food and theme does not go with each other. Restaurants in Ajmer are either made in basement or on top of the building which are out of the sight of people.. There is only 1 main kitchen and customers are not allowed to enter in the kitchen. Restaurants does not have an appropriate location it should be located at such place where there is more crowd or where there opportunities are high. Arrangement of chair and tables are not done properly, chairs are either too high or too low which are uncomfortable for the seating purpose. There are many restaurants where the lighting arrangement is not proper either the intensity of light is dim or too high. Here most of the restaurants are packed from all the sides clients does not have the view outside to see and enjoy their meal. No signage is kept so that people can see the and locate the outlet from distance.
- 123. SPACE PLANNING
- 124. AREA PROVIDED FOR SPACE PLANNING 50’ 46’
- 125. ANTHROPOMETRIC AND ERGONOMICS I have done the space planning by considering anthropometrics and ergonomics
- 126. As I have to design a multi cuisine restaurant the first thing I am supposed to do is to select the type of restaurant The different types of restaurants are- - A- la- Cart - Fast food service - Cafeteria - Banquet seating - Counter service - Hotel, club restaurant I am designing an A-la-Cart restaurant
- 127. Before starting any project the first and the foremost thing is to see the site location, orientation, macro and micro climate of the site.
- 128. SITE CONSIDERATION • Macro climate of India:- • Location of India in the world Is “North-West” direction • Longitude of India 68 to 97 25’ • Latitude of India 8 to 37 • The whole India has a tropical monsoon climate, since the greater part of the country lies within the tropics. Map Of India:
- 129. • Location of Rajasthan in India is “North-West” direction. • Longitude of Rajasthan 69 29’ and 78 17’. • Latitude of Rajasthan 23 30’ and 30 11’. • The climate of Rajasthan is generally hot and dry. Map Of Rajasthan:
- 130. Ajmer has a typical desert climate and hot and arid with over 55cms of rain every year. Temperature remains relatively high throughout the year with summer having maximum temperature near 40 C and minimum is 25 C. The winters are chill with minimum temperature 5 C. Longitude 74 42’ North Latitude 26 27’ East Map Of Ajmer:
- 131. SITE SELECTION AND ANALYSIS Location of the site, site analysis, site and its surrounding are first undertaken. Site analysis is the process of surveying or studying the existing environment and how it will influence, the structural design and layout of the site. Site analysis must be completed first before design development. Bajran garh Propose d Site Sharda hospital Divya Deep Circle
- 132. ACCESSIBILITY TO THE SITE The main entrance and the main road abutting the site is very important for any kind of the project. 0 Entrance of my site is west facing. Bajran garh Propose d Site Sharda hospital Divya Deep Circle
- 133. MAJOR LANDMARKS CONNECTING THE SITE The connectivity to main roads and other sub-roads. The distance from the major landmarks such as:- • Railway Station:- 2.7 km • Bus Stand:- 2.4 km • Shopping Centre:- 1.1 km • Police Station:- 2.4 km • Hospital:- 950 m
- 134. MACRO CLIMATE Macro climate is the climate of a larger area such as a region or a country. Macro climate around a building cannot be affected by any design changes however, the building design can be developed with a knowledge of the macro climate in which the building is located. The macro climate is contrasted with local climate and micro climate. Macro climate is not controlled by the designer.
- 135. MICRO CLIMATE A micro climate is a local set of atmospheric conditions that differ from those of the surrounding area. It is the climate of a small specific place within a large area. The presence of water and vegetation on the site can also be used for natural cooling. Good site layout can reduce loads appreciably by optimizing natural solar protection and local breezes. Micro climate depends upon the shades, sunlight, wind in a particular space.
- 136. ORIENTATION OF SITE In every plan orientation is very important, by orienting the plan the space will be more lighted up and ventilation will be proper in a space. NORTH SOUTH WEST EAST WINTER SUN SUMMER SUN INTENSE SUN Preferred Zone For Building Orientation Acceptable QUADRANT Of Windows orientation TOTAL SHADE
- 137. Before starting any project it is essential for a designer to chose an inspiration. After doing a thought process I took geometry as my inspiration and did some thought process to know about its various aspects.
- 138. Inspiration GEOMETRY
- 140. GEOMETRY Geometry is one of the classical disciplines of math, roughly translated in Greek as “ earth measurements”. It is more focused with the study of measuring lengths, areas and volumes of space and figures. Geometry was arrived from ancient times and is still in use up to now. Geometry is found every where around us from our body to trees, from stones to shells, from Egyptian pyramids to Hindu temples, we can see geometry in everything. Pythagoras was the first mathematician who gave the Pythagorean theorem, which was completely based on calculations of geometric shapes. Marcus Vitruvius was another mathematician who found that the human body is also based on Golden Section. He has made a drawing of a Vitruvian man. World famous painting of Mona Lisa was made by Leonardo da Vinci which was completely based on Golden Ratio. Euclid, a Greek mathematician enters history as one of the greatest of all mathematician and he is often referred to as the ‘Father of Geometry. Sacred geometry is a wide term under which Golden Section, Fibonacci series, golden spiral etc. comes. Sacred geometry involves sacred universal patterns used in the design of everything in our reality. The golden ratio is a special number approximately equal to 1.618. it appears many time in geometry, art, architecture and other areas. In real life, geometry has a lot of practical uses, from the most basic to the most advanced phenomena in life. Even the very basic concept of area can be a huge factor in how our daily business we can do. Architectural begins with geometry, since early times architects have relied on mathematical principles. The ancient Roman architect Marcus Vitruvius believed that builders should always use precise ratio when constructed. In interior design geometry plays a key role, foe determining proportion, placements of objects, motifs, patterns etc. that are aesthetically pleasing. Geometric patterns were used since ancient times periods such as Art Deco in which the solid geometric shapes came into use. There are many styles in which the geometric patterns and motifs has been used. For e.g.. African style Islamic style, Japanese style, Chinese style, Moroccan style etc. it gets transformed according to the locations like in Hindu architecture more curved lines has been used where as in Islamic architecture straight line and inlay work has been used
- 141. Hence, I conclude that through geometric shapes such as square, rectangle, triangle, circles we can create infinite number of designs, motifs, patterns etc. for giving a pleasing look, every creation should be based on Golden ratio. Geometry fascinated me, I seen it in things around me and I tried to relate it with my field to generate new ideas which are shown in subsequent slides.
- 142. I studied about various styles like Chinese, Japanese, morocco, Islamic, art deco etc. I found that every style has one common thing which was geometry . I was fascinated by geometry and took geometry as inspiration.
- 143. PLAYING WITH CIRCLES
- 145. After making so many geometric patterns I did the thought process and made a plan in which I have made layouts for space planning, detailing, circulation, furniture and flooring layout.
- 146. ARCHITECTURALLAYOUTS
- 161. DESIGNDEVELOPMENT
- 187. COMPOSITION
- 188. RECEPTIONAREA1
- 192. PRODUCT DESIGN
- 195. OFFICE DESIGN
- 196. The goal of office work is almost to provide specific task accomplished by individuals and groups that assists in achieving the overall goal of the business. An office that is poorly planned or has the wrong furniture products can contribute to the office working inability to do their jobs, negatively impacting the bottom line of the client, company. On the other hand, effective functional design and planning, along with sensitive specifications of products and materials, can lead to an increase in employee productivity, effectiveness and specification. OFFICE DESIGN
- 199. LIGHT The light is something which makes vision possible. Light is that part of the electromagnetic spectrum that is perceived by our eyes. There are two types of light source : There are two types of lighting: Light Natural Light Artificial Light
- 202. UNITS OF LIGHT CANDELA It is equivalent to the illumination of one standard candle. FOOT CANDELA It is the amount of illumination on a surface from a light source of on candela that is a foot away from the surface. ONE FOOT CANDELA =1 Lumen /Square foot ONE LUX Is the amount of illumination created by a light source of one candela which is one meter away from the surface . 1LUX=1 Lumen /Square meter LIGHTING CALCULATION ACTIVITY FOOT CANDLES LUX Hall ways 5-7 55-75 Entertaining 10-20 110-215 Dinning 10-20 110-215 Easy reading 20-50 215-540 Bathroom 20-50 215-540 Kitchen basic lighting 20-50 215-540 Kitchen food preparation 50-100 540-1075 Difficult reading writing 50-100 540-1075 General workshop lighting 50-100 540-1075 Fine or detailed work 100-200 1075-2150
- 203. The colour rendering index (CRI) Sometimes called rendition index, is a quantitative measure of the ability of a light source to reproduce the colour of various objects faithfully in comparison with an ideal or natural light source. Colour rendering: Effect of an illuminate on the colour appearance of objects by conscious or subconscious comparison with their colour appearance under a reference illuminate. COLOUR RENDERING INDEX (CRI) A palette of specific colors is used, and the CRI calculation is the difference between each color sample illuminated by the test light source and the reference source. The group of samples is averaged, and a score between 0 and 100 is calculated, with 100 being the best match between light sources. The higher the CRI of a light source, the better – and more natural – colors appear.
- 204. TYPES OF ARTIFICIAL LIGHITNG GENERAL LIGHTING General lighting is the main source of illumination in a space. This uniform, base level of lighting can easily become the focus of energy reduction, as the light levels from other fixtures can be lowered, especially when using LED and CMH lamp sources. Recommended light levels for general lighting is 30 – 50 foot-candles. TASK LIGHTING Task lighting is used to illuminate an area for a specific task; providing a focused, localized, and higher level of illumination. Necessary to the functioning of a space, it is important to use energy efficient sources to reduce operating costs. Task lighting is most effective when used as a supplement to general lighting in workspaces, conference areas and on counter tops. Effective task lighting should eliminate shadows on the specific illuminated area, while preventing glare from the lamp or off surfaces. Recommended light levels for task areas are 50 – 200 foot- candles. ACCENT LIGHTING Accent lighting creates a dramatic emphasis on the space using a focused, or point, light source or sources. It adds depth, contrast and creates a focal point for items to be displayed; it highlights shape, texture, finish and colour. If this light is directed ambiguously, the end result may have many unwanted shadows obstructing the details of the highlighted items as well as distracting glare. The key is to make this illumination more precise and of higher intensity than the surrounding ambient light. Track fixtures, recessed housings with adjustable trims and concealed adjustable illumination with point source lamps provide directional control and are especially effective for accent lighting. Recommended light levels for accent lighting are between 150 – 500 footcandles
- 205. Lighting design for restaurants all depends on the type of venue, and the desired atmosphere. The perfect formula for lighting restaurants is a mixture of ambient and accent lighting that blends into the architecture and becomes unnoticeable. This allows the addition of decorative luminaires to be just that – decorative – adding to the atmosphere and mood of the restaurant. Consider ConTech Lighting Recessed Housings; a myriad of voltage, lamp, and trim options make it an excellent ambient light source. It is important to consider zoning: the overall ambient lighting should be subtle, but passageways, service areas, and hallways should be more brightly lit. The light levels should be appropriate for the space. Recommended ambient levels are around 15 foot candles, with 30 foot candles over the tables for contrast and functionality. RESTAURANTS, BARS, AND LOUNGES
- 206. LIGHTING CALCULATION Calculating for the Lumen Method A production area in a factory measures 60 metres x 24 metres. Find the number of lamps required if each lamp has a Lighting Design Lumen (LDL) output of 18,000 lumens. The illumination required for the factory area is 200 lux. Utilisation factor = 0.4 Lamp Maintenance Factor = 0.75 QUES. PLAN. N = ( 200 lux x 60m x 24m ) / ( 18,000 lumens x 0.4 x 0.75 ) N = 53.33 N = 54 lamps Spacing
- 207. LIGHTING CALCULATION Spacing: The aim of a good lighting design is to approach uniformity in illumination over the working plane. Complete uniformity is impossible in practice, but an acceptable standard is for the minimum to be at least 70% of the maximum illumination level. This means, for example, that for a room with an illumination level of 500 lux, if this is taken as the minimum level, then the maximum level in another part of the room will be no higher than 714 lux as shown below. 500 / 0.7 = 714 lux Data in manufacturer's catalogues gives the maximum ratio between the spacing (centre to centre) of the fittings and their height ( to lamp centre) above the working plane (0.85 metres above f.f.l.)
- 208. MY ASSIGNMENTS
- 209. AUTO CAD AND CUT SECTIONS
- 218. MAX ASSIGNMENTS
- 231. CONCLUSION During the working of these projects I learnt a lot about the design development, how to inbuilt the Elements and Principles of Design, colour schemes in our design. These projects overall taught me how to increase the aesthetics of a space and how to increase the earning for a commercial space with the help of designing.
- 232. BIBLIOGRAPHY • Building Construction By Sushil Kumar •Time Savers Standard • Color Harmony •Inside Outside Magazine • Society Interiors magazine •Internet •Pinterest