Commercial Space Planning Project Report

Commercial Design
Restaurant Design
Retail Design
Office Design
P O R T F O L I O
Himanshu Dhawal, 2nd Year Commercial Diploma Programme
Dezyne E’Cole College, Ajmer (www.dezyneecole.com)
Design By -

Project Report on
commercial space planning
Submitted to
Dezyne E’cole College
towards the partial fulfillment for
the award of Diploma in
Interior Design as
Technical Knowledge Development
of
Space Planning
By
Himanshu Dhawal
106/10 Civil Lines, Ajmer
Tel : 0145-2624679
www.dezyneecole .com
2015-16

A C K N O W L E D G E M E N T
Himanshu Dhawal
Diploma Interior Design
The project of “commercial space planning & designing“ has
enlightened me about the various aspects of planning and designing a
commercial building.
I gave my sincere thanks to Dezyne E’cole College and to my mentors
who gave me the opportunity to know about the various aspects of
the commercial space planning and helped me in my project.
I also gave thanks to my principal mam ‘Mrs. Vinita Mathur’, who
guided me and supported me so that I become able to do this
project.
Last but not the least, thanks to God for keeping me in good health
because of him I was able to submit my project on time.

106/10 Civil Lines
Ajmer, 305001 (Raj.)
Tel. 0145-2624679
This Project Report of Mr. Himanshu Dhawal of Interior Designing
2nd Year Diploma Programme of Commercial Design Has Been Graded
As .
Thanking You
Principal
( Seal & Signature )
GRADE-SHEET

Synopsis of the project : -
During the course of my 2nd year commercial diploma programme, I
have studied about the space planning of commercial spaces. Mainly
three commercial spaces was included in my diploma programme,
they are : Restaurant, Retail and Office Design. I have compiled about
restaurant design and retail design in my portfolio. I have also studied
about lighting design. Whatever I have learnt or studied, I have
compiled in this project .

Himanshu Dhawal
Student at Dezyne E’cole College
106/10 Civil Lines
Ajmer ( RAJ. )
PROFILE
• Student of 2nd Year
Diploma Commercial
Design
SKILLS
• Google sketch up
• Auto Cad
• 3Ds Max
INTERESTS
• Sports
• Music
• Dancing
• Outing
LANGUAGES
• Hindi
• English
EXPERIENCE
• Participated in Annual
Sports Day
• Participated in the
exhibition

C O N T E N T :-
 Commercial Design :
• Introduction
• Need to study commercial design
• Space planning and interior design in
an effective way
 Restaurant Design :
• Introduction
• Need to study restaurant design
• Types of restaurants
• Space requirements
• Food service facilities
• Case study
 Retail Design :
• Introduction
• Meaning of entrances
• Types of entrances
• Principles of retail design
• Types of plans of retail layout
• Dimensions
 Principles of design
 Lighting Design :
• Introduction
• Basic categories of light
• Luminaires
• Light quantity
• Light quality
• Light calculations
• Lumen method of light
calculation
• LEDs : meaning and
importance
• Lighting and designing of space
 Bibliography

Everyday we interact with the commercial interiors, stopping at the fast
food restaurants for a quick lunch or studying for test at the library. All
these facilities and many others represent the kinds of the interior spaces
created by the division of the interior design profession commonly called
the commercial interior design.
Designing commercial interiors involve designing the interior of
any facility that serves business purpose. Commercial interior design
requires a thorough understanding of an organization’s work-place culture,
branding, work-practices, evolution and the contact with the place.
Commercial Design
 Introduction :

Commercial design is the process of
creating and over-seeing the
construction or the renovation of a
commercial space. Commercial space
is a place where buying and selling
taking place and the retailer get the
benefit or the profit from the
customers. 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 settings
within the space.
 NEED TO STUDY COMMERCIAL DESIGN :
The design of commercial interiors is complex and challenging. Commercial
interior design projects must follow all the phases of design process closely.
Missing steps or half-heartedly doing any of the tasks in programming,
schematic design, or design development, incomplete preparation of
construction documentation, or faulty contract administration can be
disastrous.
Thus, interior designers working in one of the commercial
specialties must be very detail oriented to ensure that all the tasks are
performed correctly and completely.
A critical skill for commercial interior designs is effective
communication. Adherence to the building, life safety and accessibility
codes is another critical part of the work of commercial interior designers.

 SPACE PLANNING AND INTERIOR DESIGN IN AN EFFECTIVE
WAY :
Space planning is one of the most important aspects for the usage
of space effectively and efficiently, whether we are constructing a new
office building or a residential house. It also helps us to accommodate
special processes and work flows as well as to create a desired image and
atmosphere in the house or office according to the specific needs and the
requirements. There are various processes involved in it, such as, interior
designing, space and schematic furniture plan or preliminary diagramming
etc. Now, we can imagine how important space planning works from
residential as well as the commercial perspectives is. So, it should be done
in a very professional and effective way, so that the maximum utilization of
the available space could be done.
No one can ignore the fact that space is one of the precious assets
for anybody whether they are individuals or the entrepreneurs. Even the
price of a small piece of land have been increasing along with the time for
many years. So the prices of the residential and the commercial buildings
are also increasing continuously. In such circumstances, its one of the most
important things to utilize the space as maximum as possible. Some of the
skills and knowledge which are required to do space planning are as
follows:
• Preliminary diagramming.
• Familiarity with the regulations and building codes.
• Knowledge of interior detailing, materials and finishes.
• Spatial design ability and skills.
• Space and schematic furniture plans.
• Delineation and presentation skills.
• Knowledge of anthropometrics and ergonomics.
Thus, it is clear that space planning plays an important role before
design any residential as well as commercial spaces i.e. ( retail store,
restaurants, offices etc.)

Anthropometrics
&
ergonomics
Highlight the
personality of
space
Purpose of
designing the space
• Window display
• Proper lighting
Clients requirement
Creating an
environment
Comfortable
space
Maintenance
free
Movable
design
 Points to be paid attention
in designing the
commercial spaces :
• Location
• Signage
• Orientation

As an interior designer, last year, I have studied about the residential
design; that, what is residential design actually means and why is it
necessary to study about it. And now this year I have done commercial
design in which I have studied about the space of commercial spaces i.e. how
can I maximize the utilization of space in an effective manner.
Anthropometrics and ergonomics also plays an important role in the
residential as well as commercial design. The demand for commercial
interior designers is continuously increasing as compared to the residential
interior designers, so I have been improving my skills and knowledge of
commercial design.
During the course of my 2nd year commercial diploma programme, I
have studied about three commercial spaces i.e. Restaurant design, Retail
design and Office design. However, commercial space designing include
retail spaces, education, commercial offices, child-care, health-care, sporting
facilities, hospitality spaces etc. but, t have studied about these three
commercial spaces ( Restaurant design, Retail design and Office design).

 Restaurant :
Restaurant is a place where people go and eat food and enjoy with their
partners, friends and family members. It is not only related to the
business places for its owner, but it is the place , where the food / meals
of different continents or countries are prepared and served to the
customers in exchange of money. Not only food, beverages or drinks also
offered to the customers.
 Retail :
Retail involves the process of selling the consumer goods or services to
the customers through the multiple channels of distribution to earn profit.
The purpose of retail space is to stock and sell the products to the
customers. Today online shopping is the main threat for the retail design,
so the space must be design more attractive and window display should
be properly designed and organized.
 Office :
Office Design means to create a space where the administrative or
organizational work takes place. ( I am still working on office design . )
As an interior designer, I have given brief description of those
commercial spaces about which I have studied during my 2nd year
commercial diploma programme. I have explained more about them in
the next subsequent pages of my portfolio .

Restaurant Design
 Introduction :
The word ‘Restaurant’ initially appeared in the 16th century, meaning a
restorative broth, but by 1771, the term had mutated to refer to an
“establishment specializing in the sale of restorative foods” as well.
“ Restaurant is a place where people can go with their partners,
friends and family members to enjoy their foods / meals. “
Restaurant design is related to the study of space planning of a
restaurant, making an arrangement of tables & chairs, create an
environment in which people will enjoy different food or meals.
Restaurant refers to a place where food is prepared and served to the
customers, not only food but the drinks also offered to them in the
exchange of money.

 NEED TO STUDY RESTAURANT DESIGN :
As we know, restaurant is a place where people can go and enjoy
different types of foods / meals of various continents or countries.
Restaurant design needs to be study, so that as an interior designer, an
environment can be created in the restaurant in which people can feel
relax and enjoy their meals and beverages after their work. Restaurant
design includes : the space planning of a restaurant, making an
arrangement of tables and chairs, orientation etc. Therefore, the
knowledge of the restaurant design is necessary for an interior designer,
so that they can create a relaxing environment for those customers who
works for a whole day and go to restaurant to remove the tiredness of
their office work.

 TYPES OF RESTAURANTS :
• Restaurants may be classified or distinguished in many different ways. The
primary factors are usually the food itself (eg. : Vegetarian, seafood,
steak); the cuisine (eg. : Italian, Chinese, Japanese, Indian, French,
Maxican, Thai) and / or the style of offering (eg. : tapas bar , a sushi train, a
tastet restaurant, a buffet restaurant or yum cha restaurant ). Beyond this,
restaurants may differentiate themselves on factors including speed ( see
fast food ), formality, location, cost , service or novelty themes ( such as
automated restaurants).
• Restaurants range from inexpensive and informal lunching or dining places
catering to people working nearby , with modest food served in the simple
settings at low prices, to expensive establishments serving refined food
and fine wines in a formal setting. In the former case, customers usually
wear casual clothing. In the latter case, depending on the culture and local
traditions, customers might wear semi-casual, semi-formal or formal wear.
• Typically, at mid to high priced restaurants, customers sit at the tables,
their orders are taken by a waiter, who brings the food when it is ready.
After eating , the customers then pay the bills. In some restaurants, such
as workplace cafeterias, there are no waiters; the customers use trays on
which they placed cold items that they select from a refrigerated container
and hot items which they request from the cooks, and then they pay a
cashier before they sit down. Another restaurant approach which uses few
waiters , is the buffet restaurants . Customers serve food onto their own
plates and then pay at the end of the meal. Buffet restaurants typically still
have waiters to serve drinks and alcoholic beverages.
• Themes restaurants are the restaurants in which the concept of the
restaurant takes the priority over everything else, influencing the
architecture, food, music and overall “feel” of the restaurant . The food
usually takes a backseat to the presentation of the theme , and these
restaurants attract customers solely on the p[remise of the theme itself.
Theme restaurants have an instantly recognizable , easily articulable
concept that can be summed up in a few words atmost , an almost
cartoonish exaggeration of an idea. The popular Rainforest café
restaurants have the obvious theme of a “Tropical Rainforest”. Medieval
Times has its “Medieval Europe” theme. The Jekyll and Hyde Club evokes
an atmosphere of Jack the Ripper and Victorian Horror novels. Some
theme restaurants use controversial images, contexts or ideas.

 SPACE REQUIREMENTS :
 For a restaurant and eateries :
Adequacy of space will influence building and the operating costs and the
efficiency. When the space is too small, the labour time and the effort are
likely to decrease and the volume and quality of the output decrease. When
it is too large, building and the maintenance costs are excessive.
Ample space sometimes are provided by the means of low cost materials and
equipments of such inferior quality that they have short and unsatisfactory
service life.
Decisions pertaining to space allowance may be strongly affected by the
limitations of the investment fund and available space. Space allowances 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 the terms of appearance, sanitation, and good
quality of production and services.
• Immediate and future costs, depreciation, unkeep and maintenance.
Requirements will vary for facilities of 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 frozen
or fresh, and the completeness of processing to be done.
Calculation of the space required is determined in terms of:
• Volume and type of service
• Amount and the size of equipment to be used
• Number of workers required
• Space for needed supplies
• Suitable traffic area
The dining area location and the space allowance are usually determined
first, the production areas next in terms of specific relationship to the dining
area, and the other sections as required to these.

 For dining areas :
Space for the dining area is usually based on the number of sq. ft. per person
seated times the number of person seated as one time i.e. (space required
for one person X number of people to be served).
The patron’s size and the type and quality of service should be
considered. Small children may require only 8 sq. ft. for a type of service in
which an adult would need 12 sq. ft. for the comfort. A banquet seating
allowance might be as little as 10 sq. ft. per seat and that for a deluxe
restaurant as much as 20 sq. ft. The amount of serving equipment in the
dining area lineup space will influence needs. Lost space must be
considered.
Both young and old enjoy having sufficient elbow room and enough
space so that dishes of food and beverage are not crowded. Place setting for
adults usually allow 24 inches and for children 18 to 20 inches. ( Table No.1 )
Table size will influence patron comfort and efficient utilization of
space. For ex. : in cafeteria, where patrons may dine on their trays, it is
important that the table be of adequate size accommodate the number of
trays likely to be there. Four trays is of 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 not
comfortable for large people . They are only suitable in crowded area with
fast turnover and light meals.
Type of operation sq. ft. per seat
Cafeteria, commercial 16-18
Cafeteria, college and 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
Square feet per seat used for various types of food operations:-
Table : 1
The best utilization of the space can often be arrived at through the use of
templates or seated models. Diagonal arrangement of square tables utilizes
space better than square arrangement and yields a more trouble-free
traffic lane.

Fig : 1 – Module for a square table
to be arranged in a rectangular
pattern.
Fig : 2 – Module for a square table
to be arranged in a diagonal pattern.
8’4”
8’4”
9’
9’

 “ Number of person’s allowance” :
The number of persons to be seated at one time is the second point of the
information needed for calculation of the dining room size. The total number
of seats required at one time, is multiplied by the space required for each
seat, will give the total number of square feet needed in the dining area .
The number of times a seat is occupied during a given period is commonly
referred to as “turnover”. Turnover is quickest in the dining rooms where the
food has been already prepared for the fast service and where patrons serve
themselves and bus their soiled dishes.
The calculation of occupancy of seats in a dinning 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 percentage of the total capacity. In
cafeteria from 12 to 18 percent, and for counter operations 10 to 12 percent.
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 services.
• The elaborateness of the food selection.
• Convenience of the layout
• Type of patrons.
At these rates , 240 to 280 patrons will need to be seated within an hour. If
the turnover rate is two per hour, then from 120 to 240 seats will be used.
However, of 15 percent of the total capacity at the peak period remains
unfilled then between 140 to 280 seats will be required . An additional 14 to
28 seats or 10 percent would be needed if the patrons do not bus their
soiled dishes.

Banquet seating requires planning because maximum seating potential
means maximum profits. Folding tables 30 inches wide are popular. These
are obtained in varying lengths, but 72 and 96 inches are commonly used.
The spacing for the legs should be such as to allow for comfortable seating
when the tables are joined end to end and place settings are laid on 24 inch
centers.
Flexibility in seating capacity is often desirable. People do not like to be
crowded no do they enjoy the lonely experience of being seated in a huge
area occupied by only a few. Sparse patronage creates an impression of poor
popularity.
Commercial restaurants located in shopping or office areas often have a
heavier demand at noon than at the dinner hour. Rooms used for general
patronage at noon may be closed at night or provide space for private
dinner parties. Entrances to these rooms should not require passage
through the main dining room. Convenience for special service is important.

 Meal production areas :
A frequently used rule for allotting space for kitchen is that it should be one-
half the area of the dining room. But it has been found unsatisfactory to go by
a set space allowance for this area . Many factors influence space
requirements , such as :
• Type of preparation and service.
• Amount of the total production done in the unit.
• Volume in terms of the number of metals served.
• Variety of foods offered in the menu.
• Elaborateness of preparation and service.
• Amount of individual service given, as in a hospital tray service. Seating
and service plan, whether on one floor or many.
 Impact on space :
Variety in menu selection and elaboration of foods tend to increase space
needs in work areas and storage. Small amounts of numerous items do not
permit stacking and bulk packaging. The equipment provided will affect the
space needs. Frequency of garbage collection will minimize the space needs,
but increase collection cost.
The location of entrances and exists for a good flow of traffic, window
placement, suitable space and relation of sections need consideration.
Eliminate partition whenever possible, this will reduce space needs and also
permit easier supervision of production areas.
Planners are often asked to make estimates of the space needs before having
an opportunity to make policies or detailed plans for operations. The square
footage given is to be multiplied by the maximum number of meals
estimated per hour of service, in order to find the total space requirement.
Kitchens serving a smaller number require a larger square footage per meal
than those serving a larger number. The data in Table No. 2 for industrial
cafeterias show the rate at which space needs per meal to decrease as the
number served increases.

 Area size :
After production policies have been established, work areas may be
blocked out in terms of the equipment needs and the number of workers
required to do the work in a section. Linear space, depths, and heights for
work centers should be controlled in terms of the average human
measurements. This will include the reach to and grasp of material or
equipment used in working. The length and the width of work table is
adjusted in terms of the amount and size of equipment, that will rest on it
during the progress of work. The linear measurement will vary in terms of
the numbers of the workers using it at one time.
Table : 2
Variation in space needs in relation to numbers served :
Meal load
Square feet
per meal
Verification in
square feet
100 - 200
200 – 400
400 - 800
800 – 1300
1300 - 3000
2000 – 3000
3000 - 5000
5.00
4.00
3.50
3.00
2.50
2.00
1.85
500 – 1000
800 – 1600
1400 – 2800
2400 – 3900
3250 – 5000
4000 – 6000
5500 - 9250

 Flow diagram showing functional relationships :-
Employee
facilities
Manager’s
office
Pot and
pan
washing
and storage
Janitor
closet
Guest
facilities
Employee
dining
Linen &
paper
storage
Time
recorder
Cleaning
supplies
Car and
truck
washing
Serving
area
Dishwashing
Dining
rooms
and
catering
Meat
preparation
Cooks
unit
Salad and
sandwich
unit
Short
order
Vegetable
preparation
Refrigerator
and frozen
storage
Fountain
service
Bake
shop
Common
storage
Ventilated
storage
Delivery
yard and
receiving
area
Garbage
pick up

 Serving areas :
Space allowance of serving areas should be adapted to the needs of the
specific facility. In cafeterias the counter length should be regulated by the
variety and the volume. An estimate that may be used for allotting width is
14 feet. This allows for 4 feet as patrons lane space, a 1-foot tray slide, 2-
feet-6-inches counter width, 44 inches for workers, and 2-feet-6-inches for a
back bar. The width of the tray slide should be 1 foot if it is a lower height
than the counter top.
For children, 28 to 38 inches is desirable, with counters narrow
enough for servers to reach over and assist a child. A solid tray slide tends
to result in fewer accidents than those made of bars or tubing. Plastic trays
measuring 9 by 12 inches, compartmented, and of pastel colors are popular.
Step saving compactness saves space. The units requiring the most space
are those furnishing elaborate or highly individualized service.
 Receiving and storage areas :
Space allocation for receiving and storage must be based on specific needs.
The volume and type of items received and stored should be considered.
Although the average operation may find a dock 8 feet deep and 12 feet
long sufficient for receiving items, this would not be sufficient for a large
one. The space requirement in square feet for food storage for 30 days has
been calculated by some as approximately one half the total served or, if
1000 are served, 500 square feet may be used as a tentative figure for total
food storage needs.
 Common storage :
The volume of canned food needed to serve 100 persons three meals daily
for one month is estimated at approximately 45 cases of 6/10’s or
equivalent. The maximum stack height will be 8 or 9 cases or approximately
72 inches. The depth of the shelves should accommodate either the width
or length of the case, and the interspace should be adequate for the
number to be stacked one on the top of another. Allow 1-1/2 to 2 inches as
fee space for ease of positioning. Add the thickness of shelving to
interspace when stating measurements between centers. Position heavy
items to reduce lifting and facilitate dispensing. Table surface and scales
should be located for convenient issuing of dry stores. Plan to have all
products at least 6 inches above the floor or movable to facilitate cleaning
of storage area.

 Refrigerated and low-temperature storage :
There are many factors affecting space needs for refrigerated and low-
temperature foods. Across the board figures generally should be used only
in preliminary estimates. A requirement of 15 to 20 feet of refrigeration per
10 complete meals has also been used by some planers. Others state 1 to
1.5 cubic feet of usable refrigerator space should be provided for every
three meals served. A walk in refrigerator becomes feasible for an operation
over 200 meals per day. A walk in 5 to 6 feet wide does not permits age on
both sides with adequate aisle space. Storage space of 1 foot-6 inches to 2
feet should be allowed on the either side of the aisle 1 crates or cases are
stored, this may have to be increased. Aisles of 30 inches are usually too
narrow, 42 inches are desirable.
 SANITATION AREAS :
Dishwashing area : The space required for the dishwashing operation
depends on the methods and equipment used. The dimensions may be only
30 to 36 inches for a single tank machine, 60 to 72 inches for sinks or 7 to
over 30 feet for a flight type machine. The requirements in the clean dish
area will vary. For a rack machine, it is well to allow space equal to that
required for 3 racks, a stack of trays and 3 or 4 stacks of dishes. For rack
machines, it is usually recommended that the clean dish area occupy 66
percent of the total table space and the soiled dish area, 40 percent.
Pot and pan section : Provide a soiled utensil collection area adequate for
the largest volume that normally arrives in the section at one time. The
busiest periods are likely to occur when preparation containers are emptied
for service.

 FOOD SERVICE FACILITIES :
Introduction :
Accurate determination of the space requirements for a food-service facility
is a very difficult problem, involving considerable research and
computation. The space required for each functional area of the facility is
dependent upon many factors which are not constant for all types of
operations. The factors involved include the number of meals to be
prepared; the functions and tasks to be performed; the equipment
requirements, storage for materials; and suitable space for traffic and
movement. Overestimating or underestimating any of them can lead to an
excess or a shortage of space for the facility
 Dining area :
Estimating the space required for dining areas is based on the number of
persons to be seated at one time and the square feet of the space allowed
per seat ( Table no. 1 ). The numbers of persons to be seated at one time is
determined by considering the total number of the customers to be served
for a given time period, and the turnover.
The turnover is determined by estimating the average time a seat is
occupied for the time period desired.
Estimated total facility space for food service facilities :
Types of operation Sq. ft. Sq. m.
Table service
Counter service
Booth service
Cafeteria service
24 - 32
18 - 24
20 - 28
22 - 30
2.23 – 2.97
1.67 – 2.23
1.86 – 2.60
2.04 – 2.79
Table : 1

Turnover rates for food service facilities :
Types of operation Turnover rates
( Per hr. )
Commercial cafeteria
Industrial or school cafeterias
Counter service
Combination counter and table service
Leisurely table service
Regular table service
1.5 – 2.5
2 – 3
2 – 3.5
0.5 – 1
1 – 2.5
Table : 2
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 shown in
Table no. 2 .
However, if the turnover is one of the basic objectives, then the planner and
the subsequent manager can do the following to accomplish this :
• Use menu items that require short processing times, or use pre-
dominately preprocessed items.
• Provide ample production space and equipment to handle the peak
periods.
• Use well-lighted and light coloured 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.
• Make sure guest checks are presented to customers as soon as they are
finished eating.

Dining space per seat
Estimated dining area space for food service facilities :
Types of operation
Sq. ft. Sq. m.
Table service
Counter service
Booth service
Cafeteria service
Banquet
12 - 18
16- 20
12- 16
12- 16
10 - 12
1.11 – 1.67
1.49 – 1.86
1.11 – 1.49
1.11– 1.49
0.93 – 1.1
Table : 3
The square footage of the space allowed in the dining areas is governed by
the amount of comfort desired. Crowding in the dining areas is not desirable
except in some quick service fast - food operations.
Suggested space requirements for dining areas are given in Table no. 3 . The
figures on the high end of the range are used where ample space or leisurely
dining are to be provided. The figure on the low en of the range will result in
minimum space requirements.
The size and the arrangement of tables, chairs, booths, and counters selected
for the dining area are important to the efficient use of the space allowed.
Space for waiting areas, rest rooms , or other similar areas have to be
determined separately.

Fig : 2 - Diagonal arrangement of tables :
Fig : 1 - Rectangular arrangement of tables :

 Production areas :
The space estimates for production areas include room for all the functional
areas, such as receiving, storage, preparation, cooking, and warehousing,
that are required to produce the menu items. Estimates for production areas
for typical foodservice facilities are given in Table no. 4 .
Facilities that will be processing primarily fresh items should use the higher
space estimates. The smaller figures are used for the operations using
preprocessed foods and require minimal production space.
Estimated production space for food facilities :
Types of facility
Sq. ft. Sq. m.
Table service
Counter service
Booth service
Cafeteria service
8 – 12
4 - 6
6 - 10
8 – 12
0.74 – 1.11
0.37 – 0.56
0.56 – 0.93
0.74 – 1.11
Table : 4
Dining space per seat

A suggested percentage breakdown of the production space for general
table service operations is shown in Table No. 5 . These percentage figures
assume a typical using fresh products. Baking of rolls, pastries, and cakes is
also assumed to be done in the facility.
Space allowed ( % )
Estimated percentage of production space allowed for functional
areas :
Functional areas
Receiving
Food storage
Preparation
Cooking
Baking
Warehousing
Traffic aisles
Trash storage
Employee facilities
Miscellaneous
5
20
14
8
10
5
16
5
15
2
Table : 5

( Restaurant Design )
Case
Study

Case study :
I am suppose 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 department for this restaurant.
I also need to provide securing and the time machine (biometric), staff
parking zone, rest-rooms with the toilet and sleeping facilities. The
recruitment division, the salary and the training division [the H.R.
department].
I need to specify the space for car parking of the clients and the views on
the landscape provided by me for this restaurant.
 What am I supposed to do and why ?
I am supposed to do space planning and designing a restaurant for serving
multi-cuisine.
 Who is my client ?
The clients of my restaurant can be of any age. They would be :
• Aged.
• Youngsters.
• Children or kids.
 What mood and ambience I need to create ?
I need to create mood and ambience according to my all clients.
• Refreshing.

 Requirements :
• Reception area
• Food serving area
• Toilet facilities
• Satellite kitchen
• Food receivable storage
• Main kitchen
• Dishwashing area , pot and pan washing
• Maintenance department
• Security zone
• The time machine (biometric)
• Staff parking zone
• Rest-rooms with the toilet and sleeping facilities
• Car parking for the clients
• Views on landscape
Area size – ( 50 ft. X 46 ft. ) is given to me in which I have to device
or calculate area for the dining area, entrance, storage , reception area,
toilet facility etc.

As an interior designer, I have to do space planning in an area of
(50’ X 46’) and designing a restaurant for serving multi-cuisine. So for it, I
am taking geometry as an inspiration . Therefore, I am doing space planning
by taking geometrical shapes.
Now first, I have to discuss about the geometry and its history .
 Introduction :
• This word is made of two words Geo + metry i.e. geo means earth and
metry or metron means measurement. Geometry is a branch of
mathematics concerned with the questions of the shape, size , relative
positions of figures and the properties of the space. Geometry arouse
independently in a number of early cultures as a body of practical
knowledge concerning lengths , areas and volumes with elements of the
formal mathematical science emerging in the west as early as Thales (6th
century B.C.). By the 3rd century B.C. geometry was put into an
axiomatic form by Euclid , whose treatment – Euclidean geometry – set
a standard for many centuries to follow.
• The subject of geometry was further enriched by the study of the
intrinsic structure of geometric objects that originated with Euler and
Gauss, and led to the creation of Topology and differential geometry.
• Since the 19thy century discovery of the non-Euclidean geometry, the
concept of the space has undergone a radical transformation and raised
the question of which geometrical space best fits the physical space.
Contemporary geometry considers manifolds, spaces that are
considerably more abstract than the familiar Euclidean space, which
they only approximately resemble at small scales. These spaces may be
endowed with additional structure which allow one to speak about the
length.
 Geometry

The earliest recorded beginnings of the geometry can be traced to ancient
Mesopotamia and Egypt in the 2nd millennium B.C . Early geometry was a
collection of empirically discovered principles concerning lengths, angles,
areas and volumes which were developed to meet some practical need in
surveying, construction, astronomy and various crafts. The earliest known
texts on geometry are the Egyptian Rhind Papyrus (2000 – 1800 B.C. ) and
Moscow Papyrus (c 1890 B.C.) and the Babylonian Clay tablets such as
Plimpton 322 (1900 B.C.) . In the 7th century B.C. , the Greek
mathematician Thales of Miletus used geometry to solve the problems,
such as : calculating the height of pyramids and the distance of ships from
the shore.
• Indian mathematicians also made many important contributions in
geometry. The Satapatha Brahmana ( 3rd century B.C. ) contains the
rules for rituals geometric constructions that are similar to the Sulba
Sutras. Aryabhata’s Aryabhatiya (499) includes the computation of
areas and volumes. Omar Khayyam (1048 – 1131) found geometric
solutions to cubic equations
• In the early 17th century, there were two important developments in
geometry. The first was the creation of analytic geometry, or geometry
with co-ordinates and equations, by Rene Descartes (1596 – 1650) and
Pierre de Fermat (1601 – 1665). The second geometric development of
this period was the systematic study of projective geometry by Girard
Desargues (1591 – 1661). Projective geometry is a geometry without
measurement or parallel lines, just the study of how points are related
to each other.
• Two developments in geometry in the 19th century changed the way it
had been studied previously. These were the discovery of non-
Euclidean geometries by Nikolai Ivanovich Lobachevsky, Janos Bolyai
and Carl Friedrich Gauss and of the formulation of symmetry as the
central consideration in the Erlangen Programme of Felix Klein.
• As the consequences of the major changes in the conception of
geometry , the concept of “Space” became something rich and varied ,
and the natural background for theories as different as complex
analysis and classical mechanics.
 History of Geometry :

• A geometric shape is the geometric
information which remains when the
location, scales, orientation, and
reflection are removed from the
description of a geometric object. That
is, the result of moving a shape around
, enlarging it, rotating it or reflecting it
in a mirror is the same shape as the
original and not a distinct shape.
 Geometric shapes :
• A geometric shape is the geometric information which remains when
the location, scales, orientation, and reflection are removed from the
description of a geometric object. That is, the result of moving a shape
around , enlarging it, rotating it or reflacting it in a mirror is the same
shape as the original and not a distinct shape.
• Objects that have the same shape as each other are said to similar. If
they also have the same scale as each other , they are said to be
congruent.
• Many 2-Dimensional geometric shapes can be defined by a set of points
of vertices and lines connecting the points in a closed chain , as well as
the resulting interior points. Such shapes are called polygons, and
include triangles, squares and pentagons. Other shapes may be
bounded by curves such as the circle or the ellipse.
• Many 3-Dimensional geometric shapes can be defined by a set of
vertices, lines connecting the vertices and 2-Dimensional faces
enclosed by those lines , as well as the resulting interior points. Such
shapes are called polyhedrons and include cubes as well as pyramids
such as tetrahedrons . Other 3-Dimensional shapes may be bounded by
the curved surfaces , such as the ellipsoid and sphere.
• A shape is said to be convex, if all of the points on a line segment
between any two of its points are also part of the shape.

 Here are the some of the steps to be followed :
Locate my site on the Google maps .
It is very important resource for us to use. It can help us to locate various
sites in a particular area. We can also use map to find out the nearby
facilities. This allow us to get the information in short span of time .

 SITE CONTOURS :
Contour maps provide valuable information about the topology of the area,
whether it is flat, undulating or mountainous . The nature of the ground
surface of an area can be understood by studying a contour map .

 SITE SELECTION AND ANALYSIS :
As an interior designer, I have chosen an open plot near Cine Mall as my site
for designing a restaurant. There is a flow of crowd because it is a main road
and many people come at chaupati and there are higher class colonies also.
So my restaurant should be according to them. And a beautiful view is also
created because there is a Ana Sagar Lake at back side of my site. So the
customers can enjoy it and have their food.

The main entrances and the main road abutting the site is very important for
any kind of project.
EAST
Entrance of my site is East facing
 ACCESSEBILITY TO THE SITE :
Cine Mall
Devnarayan
Temple
My Site
Road

 MAJOR LANDMARKS :
After spotting the major landmarks, analyze the site. It is essential to know
as to what kind of impact.
Major landmarks help us to access the various sites available in a particular
area.
Major landmarks that will help the public to get my site are as follows:
• Cine Mall
• Balaji Computers E-mitra
• Mahakaal Wines

 ORIENTATION OF THE SITE :

First of all we need to pay attention to the direction of the sun and its
movement in the four directions. If we pay attention to the diagram of the
sun’s movement, we see the sun rises from the east and the colour of the
sun at this moment is tender yellow (soft yellow). The whole south direction
is completely lighted up throughout a day and is the most hot direction but
at the same time the cool breeze flows from east because of which the
building will have more sunlight and air. So here I co-relate and use it in my
restaurant design.
NORTH
SOUTH
WEST EAST
WINTER SUN
SUMMER SUN
INTENSE SUN
Preferred
Zone For
Building
Orientation
Acceptable
QUADRANT
Of Windows
orientation
TOTAL SHADE

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.
Orientation helps us to decide where to place the doors and windows for
proper sunlight and ventilation.
Well oriented buildings maximizes daylighting, reduces the need of artificial
lighting.
SOUTH
NORTH
EAST WEST

 CLIMATOLOGY FACTORS :
Climatology is the branch which deals with the climate and changes
throughout the year of the weather .
 Location of INDIA : Location of INDIA in the world is “North-east”
direction.
• Latitude of INDIA – 20.59° N
• Longitude of INDIA – 78.96° E
 Climate of INDIA : the whole INDIA has a tropical monsoon climate, since
the greater part of the country lies within the Tropics.
Climate can be sub-divided into 2 major divisions :
 Macro climate
 Micro climate

 Location of RAJASTHAN : The location of RAJASTHAN in INDIA is “North-
west” direction.
• Latitude of RAJASTHAN – 27.02° N
• Longitude of RAJASTHAN – 74.22° E
 Climate of RAJASTHAN: RAJASTHAN has a tropical desert climate.

 MACRO CLIMATE :
My site is located in AJMER in RAJASTHAN in INDIA .
• Latitude of AJMER – – 26.45° N
• Longitude of AJMER – 74.64° E
 Climate and temperature of AJMER :-
• AJMER has a typical desert climate and hot & arid.
• Summers are hot with maximum temperature near 40 degree celsius
while the minimum temperature is nearly 20 degree celsius.
• Winters are chilly, with minimum temperature of 5 degree celsius.
• Both in summer as well as winter, there is a wide difference between
day and night temperature.

 MICRO CLIMATE :
Dealing with the micro elements of the site, it is found that –
• Summer is quite hot and winter is quite cool .
• Low or less amount of rains .
• Weather is typical desert type with very less vegetation .

 Restaurants in and around AJMER - ( SWOT ANALYSIS ) :
As an interior designer, I am doing SWOT analysis of the
restaurants located in and around AJMER, before doing space planning and
designing the restaurant at my selected site .
I have studied about the restaurant design, and on the basis of it I
have done SWOT analysis of the restaurants which are located in AJMER
and around it . And I have found many faults in their designs .
Some of the restaurants are situated in those areas where there is
less crowd or very far from the reach of the public. Some are designed at
the basement areas and others are designed at the roof top, which are not
in the site or view of the public .
Restaurants in AJMER are also designed without any theme or
concept . Sitting arrangement is also not proper. Service of some
restaurants is also very slow .
People want to spend their time with their friends, partners and
the family members after getting tired of their office works or job works.
But most of the restaurants are not according to the comfort of the
customers. Either customers has to compromise or the restaurant owner
has to suffer a great loss because of such wrong designed restaurants which
are not according to the customer’s comfort. So they are not attracted
towards them and don’t want to spend their any time in these types of
restaurants. Such types of design is not good enough in which customers
has to compromise .
After making the SWOT analysis of the restaurants located in and
around AJMER, I have to design a restaurant which is based on a theme or
the concept. And located in that area where there is more crowd and can be
easily found. I have to device it according to the comfort zone of the
customers. So they won’t have to compromise and can remove their
tiredness after their office work or job. They can enjoy with their friends,
partners and the family members .

 PLANNING PROCESS - ( RESTAURANT DESIGN ) :
“Planning process refers to the process in which all the points are
to be considered that are mandatory or required to be consider while doing
space planning of any area .”
I have studied about about the restaurant design, on the basis of
this knowledge, I have to do space planning of the restaurant according to
my selected site .
As an interior designer, first I am making points that are required
according to my requirements. They are as follows :
• Reception area
• Kitchen area
• Toilet facilities
• Storage area
• Entrance
• Dishwashing area
• Views on landscape
• Staff parking zone etc.
These above mentioned points are discussed in my case study. But
I have to clearly make out the requirements which are helpful in my space
planning for designing a restaurant .
And in the planning process, I have to consider some points while
doing space planning of an area and their consideration is mandatory. Such
points that are to be compulsory in solving my case study or for doing a
space planning are as follows :
• Storage area
• Kitchen area
• Toilet facilities ( male & female )
• Reception area
• Entrance zone
• Dining area
My space planning layouts will be seen in the next subsequent pages of my
project.

COLOUR - BOARD
PMS 7500
PMS 367
PMS 344
PMS 102
PMS 1205
PMS 108
PMS 128
PMS 367
PMS 344
PMS 102
PMS 344
PMS 108

CUBIX
JAISALMER
•Size: 30x30 CM
•Brand: Kajaria Prima
•Type: Tiles
•Category: Vitrified Paving
Tiles
COBBLE STONE
•Company : Indian Stones
•Size : 20x10x8 CM
MULTI-
COLOURED
RIVER PEBBLES
WOODEN PLANKS
ONLINE ON PEPPERFRY
GRASS FOR
WALLSCAPING
from local market
GLASS
from local market
.
STONE TILE
Gwalior MINT (Gwalior Greenish White)
SIZE : 60 X 60 CM

 Introduction :
“Retail is the sake of goods and services from the retailer to the
customers.”
As we say people love to look at the show window, and do shopping as an
experience should provide fun, which in turn provides profits. A successful
store or shop is one that is designed to merchandise in addition to looking
good. A store can be divided into principal parts : the exterior, which gives
identification, encompasses the storefront, show windows and displays, and
the interior, where the promise of the storefront display is delivered.
The “show window” displays are the set up in a large vestibule, perhaps
elevated or on portable platforms, and become the part of interior. The open
or no front generally promotes more impulse buying; department stores will
often make their entrances and extension of the mall so that shopper will
easily enticed into the store. When doors are used, either on the street or on
the mall, they should be well marked and easy to find.
Entrance should be easy, inducing, related to the interior traffic flow and
layout and should be accessible to vertical transportation, if any.

RETAIL
• Male/Female/Child
• Local
• Local Brand
• Brand
AccessoriesElectronic GoodsFood GroceryApparel
• V-mart
• Big Bazar
• Reliance Fresh
• Refrigerator
• Washing machine
• Television
• Titan
• Geetanjali
• Tanishq
• Fast Track
In order to design satisfactory shops, the first requirement is to understand
those portions of the current merchandising theories which affect the design
problem. Briefly, “Merchandising psychology” consists of, first, arousing
interest and, second, satisfying it.
The actual sales involves factors of convenience which are desirable in order
to make buying easy, to satisfy the customers completely, and to achieve
economy of the space and time for the store management.
There are some principles of retail design which can affect the whole design
of a retail store or shop. They are :
• Attracting customers
• Inducing entrances
• Organising store spaces
• Interior displays
• Conveniences

 Meaning of Entrance : -
Entrance distributes the interior and exterior zone of any space. It shows
the proceeding area and make people to feel that the exterior environment
is changing into interior one.
The design of the
entrance to a store play
a dominant role in
attracting the customers.
It needs to be entice the
customer in and give a
glimpse of the products.
Window displays are
regularly updated to
show the latest products
in the store. Sometimes
the view is blocked by
displays, giving a feeling of mystery and bringing the customer’s focus to the
display.

Once beyond the threshold, the entrance space is the starting point of the
interior journey.
It is an area of the store that is always left open and spacious , giving time
to the customers to pause and take in the store environment.
In larger stores, it is a place to meet friends before or after shopping.

 Key points of the entrance :-
 Exterior : Façade, logo
 Show – window display
 Transparency
 Mystery, posters
 Shop’s name
 Threshold, transition
 Interaction

 Types of entrances :-
• Traditional shopfront : The design of the traditional shopfront has the
sense of symmetry and it is set out in the proportion to the elevation of
the existing building.
• Contemporary shopfront : The design of the contemporary shopfront
focuses on allowing the light and visual access right into the store from
the street. The look is so clean, with glazing reaching from the floor to
the fascia panel.

 How do people buy ?
Shopping is an activity which provides fun or joy to an individual. When an
individual earn more , spend more and do shopping more, then he/she will
be more & more happy.
There are 5 senses in each individual. These senses are as follows :-
• Eyes – view
• Nose – smell (perfume i.e. aroma)
• Tongue – taste
• Ear – sound (soft music)
• Touch - feel
People can buy in two ways as there are 2 methods of purchasing. These 2
methods of purchasing are as follows :-
i. Traditional method
ii. Contemporary method

 Traditional method :
• The traditional method of purchasing & selling of merchandise is that in
which there is a contact of seller and customer.
• In the traditional method of purchasing and selling, the numbers of
customers are very less.
• Customers are bound to touch and feel the products.
• There is a small quantity of products.
• In this method all the 5 senses are not used.
• Customers are less interested to purchase anything under this method.

In the traditional method all the 5 senses are not used, therefore this method
is not suitable for the customers of the present age. An individual want to
touch or feel the product while purchasing/shopping but he/she is bound in
this method.

 Contemporary method :
• In the traditional method of purchasing and selling, the numbers of
customers are more as compared to the traditional method.
• In this method all the 5 senses are used.
• Customers are more interested to purchase anything under this method.
• Customers have freedom to touch and feel the products while shopping.
• There is a large quantity/variety of products.

This is that method of shopping in which all the 5 senses are used, therefore
this method is suitable for the customers of the present age

• Exterior sign
• Ways of writing letters
• Neighbouring shops
• Awnings
• Marquee
• Landscaping
• Window display
• Walking and entries
“ Visual merchandising is an area where we focus how we attract the
customers to come in the shops or stores. ”
Visual merchandising can be done with help of these following :
 Visual merchandising :

 Exterior Signs :
• A sign is a silent sales person, it’s a part of shopper’s first impression of
the store.
• Sign must attract attention in less than 10 sec. and tell who the business
is and what it has to sell off the premise.
• Signs with 8 letters can be read from a distance upto 250 ft.
• Consider the signs relationship with the surroundings. A sign may look
good on an individual store front but it looks very unattractive when
viewed with other buildings adjacent to it.
• Signs should be used to target a specific market segment, such as : youth,
women , senior citizen etc.
• A sign design conveys a great deal about the business inside.
a) Normal Design – selling economic products.
b) Higher Rent Design – selling luxurious products.

 Ways of writing letters :
• Letters should not be cursive.
• They should be bold and simple.
• There should be an optical space between two alphabets .
• The letters should be self illuminated, so that one can see at night also.
• Each letter should be properly designed.

 Awnings :
• The window awnings provide the customers with protection from
weather and makes viewing of the window display more pleasant.
• It reduces heat, cuts down the glare and the reflection and prevents
fading of the merchandise from an exposure to the sun.
• It adds appeal to the window display.
Many businesses use backlit awnings and electrical awnings. A variety of
styles of the awnings are available – square, long, domb, etc. the fabric of
the canopy is venyl. It can be translucent or transparent.

 Marquee :
• It is a specific type of sign to display the name of the shop.
• It can be sometimes, a kind of permanent canopy at the entrance or on
the top of the building to promote the show casing of the seasonal
display.
• Effective marquee must stand out from the other business to attract
attention .

 Landscaping :
• Landscaping should be lead to the customer’s eye to the focal point using
colours and textures to provide contrast and harmony.
• Landscape screens the undesirable sites, such as : power transformer,
refrigeration equipments, garbage areas etc.
• The essence of good landscaping is simplicity that means the design that
are easy to maintain.
• A proper landscaping increases the accoustics of a place. Use benches for
resting and relaxing the landscape done infront of the retail outlet.
• Landscaping encourages the customers to stay longer.

 Window display :
• Window display should not be of low height.
• If the window display is horizontally wide then it should be vertically
wide also.
• Colours, textures, shapes, and material must be changed from time to
time.
• Low e-emissivity glass should be used in the southern side of the
window display.
• Attractive product displays highlight the display and the focus of the
merchandise increases.

 Walkways and entries:
• 75% of the first time customers remember the store front, it provides the
first and the last view of the store’s interior.
• Picture walking along the wall where the flat surface is plane glass door ,
as opposed to the productive feeling offered by walking under porch or
canopy.
• Entrances that allows shoppers to come into a store will be aware of
entering is becoming more popular.
• Whenever we ass an entry way, it should be design to blend with the
architecture of the building.

 Principles of Retail Design :
 Attracting Customers : This can be accomplished by the means of
advertising , prices, show window displays or new remodeled quarters.
Of these, storefronts and display windows are important to the store.

 Inducing Entrances : Show windows, in addition to attracting passerby,
should induce them to enter the store. Show windows may be opened up
to the display the shop’s interior, or closed in, to give privacy to the
customers within. Door locations require study in relation to pedestrian
traffic flow, grades of the sidewalks and store floors, and interior layout of
the shop.

 Organising Store Spaces : Organising store space, and consequently the
merchandise to be sold, into departments, enables customers to find
objects easily, and permits store-keepers to keep close check on the
profits or losses from various types of goods. Store lighting and
“dressing” are simplified. Even small shops benefit from a measure of
departmentalization, in large shops, the practice becomes essential as
methods of training sales-people, of handling, controlling, and wrapping
stock become more complex.

 Interior Displays : Interior displays of staple goods and the other
accessories will attract the customers to get enter, in the shop. By it they
get satisfaction or relaxation; may be its mental, physical or both.

 Conveniences : Conveniences like telephone booths, drinking fountain,
powder rooms etc., intended primarily for the customer’s benefit, while
not strictly allied to the problems of attracting trade or selling goods, are
necessary to some types of shops. A florist, for instance, provide a card
writing desk or counter in his shop.

1) Straight Plan : Such type of
plans use walls and projections
to create smaller spaces and
they are economical.
o Use of straight plan :
Departmental store, apparel
store, drug store, grocery, gifts
shop, book store etc.
 Types of plans of retail layout :-
2) Pathway Plan : Pathway plan
can pulls the customer
through the store to the rear
without any interruption by
floor fixture. The advantage
of this layout is that the path
can take any shape.
o Use of pathway plan :
Clothing store and other
stores.
There are 6 basic plans of retail layout. They are as follow :

3) Curved Plan : This type of
plan is very soft and angular
and more inviting as the
angular areas are softened.
o Use of curved plan :
Boutiques, saloons and other
high quality stores.
4) Varied Plan : This type of
plan is very functional and
back up merchandise, it is a
straight plan allowing the
cartoon boxes and a sales
material at the perimeter
walls stocking.
o Use of varied plan :
Jewellery, hardware, shoes
and man’s shirt and other
areas .

5) Diagonal Plan : Diagonal
pattern permits an angular
traffic flow and creates
parameter design interests and
excitement in the movement.
o Use of diagonal plan : Drug and
food store etc.
6) Geometric Plan : In this type
of plan the designer has to
create forms with the shapes.
This type of plan is better than
all because it doesn’t waste any
space (sq. ft.). Designers can use
the wall angles for better
shapes.
o Use of geometric plan : Gifts
shops, apparel, shoe store etc.

The essential function of retail spaces is to display and sell merchandise.
The design of these spaces involves the manipulation and co-ordination of
architectural, interior design and merchandising elements as necessary to
meet the programmatic needs of the client. It is critical that the space in
which the customer and store personnel function is of the highest quality.
Ensuring this quality requires a knowledge of the planning and design of
the various interior components that constitute the building block of the
retail spaces.
D I M E N S I O N S

• This figure shows the clearances
involved for a 42-inches or 106.7-
cm, high counter to service a
seated user. By filling the recess
with an additional display, however,
the counter can also be used
exclusively as a typical sales
counter. It should be noted,
however, that although sometimes
used for special display situations,
such a counter height is not recommended. Both the customers and the
sales clerk of smaller body size would find coping with such a height
uncomfortable anthropometrically.

• Figure 2 illustrates the clearances for a typical sales counter.

• Figure 3 shows the
clearances required for a
medium height display
counter. The suggested seat
height of 21 to 22 inches or
53.3 to 55.8 cm, requires a
footrest for the seated
customer. The counter
height shown will allow the
display to be viewed by both
the seated. The customer activity zone allows adequate space for the
chair. Knee height, buttock knee length, popliteal height, and eye height
sitting are all significant human dimensions to consider in the design of
the counters to be used by a seated customers.

• Figure 4 shows a low 30 inches or 76.2 cm, display counter also for use by a
seated customer. The anthropometric considerations are the same.
Although the counter height is responsive to the anthropometric
requirements of the seated customer, it is less than ideal for the standing
clerk. For the standing user’s optimum comfort, the counter height should
be about 2 or 3 inches, or 5 to 7.6 cm, below height. This will allow a
person to handle objects comfortably on the counter surface or use the
counter as support for his or her arms. The 30 inches height is too low to
permit such use.

• Figure 5 shows shelving is
probably used more than any
other single interior component
for the storage and display of
merchandise be within reach
anthropometrically, but it must
be fairly visible as well. In
establishing height limits, the
body size data of the smaller,
departments may cater
exclusively to members of one
sex or the other, two seats of
data are presented. One is
based on the body size of the smaller female and the other on the body size
of the smaller male. The suggested height reflect a compromise between
reach requirements and visibility requirements.

• Figure 6 illustrates the clearances involved in hanging type merchandise
cases. Hod height should be related not only to human reach limitations,
but in certain cases to the size of the merchandise displayed. There is
usually no contact in respect to the garments.

 BALANCE :
Balance refers to the equal weight of two objects. It means both the two side
of any space have 50-50 percent value.
There are two types of balances :-
i. Traditional or symmetrical balance.
ii. Informal or asymmetrical balance.
• Traditional or symmetrical balance means that if the large object is
shown on one side than the same (large) object is shown on the other
side also.
This is effective where expensive and quality merchandise is being
presented.
(A) TRADITIONAL OR SYMMETRICAL BALANCE
 Principles of Design :-

• Informal or asymmetrical balance creates flows of rhythm and the
feeling of excitement. The two sides of the display appear to be of equal
weight, but they are not replicas of each other.
Something large can be balanced by several small objects.
Several soft colours in a large space can be balanced one bright colour
because of the intensity of the bright colour will compensate for its small
size.
(B) INFORMAL OR ASYMMETRICAL BALANCE
 When planning a display, do not forget the following points :
• A large expanse of empty space will call attention to a single object
placed in it.
• If the several small objects are more exciting than the large object, they
will over-whelm the large object.
• If the colours are too bright then they will over-power pestals.
• If an object is placed at an angle or to one side (off center) , the space on
either side of that object becomes important.
• If an object is placed at the center, the empty space loses its importance
because its shape is predictable and therefore has less recognition as its
own element.

 EMPHASIS :
Emphasis means the point of attraction.
• Shiny surface enlarge the object.
• Dull surface absorb light and de-emphasize.
• Colour is a powerful tool for creating emphasis through intensity.
• Bright colours are used in show window.
• Dark colours are always used in luxury stores.
• Triangle is more stable shape.
• Circle attracts the attention at the center.
Repeatition needs to be grouped well to create emphasis otherwise emphasis
diminishes.
object
Name of the store
View

Whenever emphasis is to be created it recedes an impact when thin, fuzzy
lines, irregular shapes, regular spacing between the objects, cool colours,
dull intensities, medium tints and shades, dull and opaque texture, small
and over all patterns, even light absorbtion reduces the impact of the
show window.
Circle is the shape that attracts more as compared to other shapes.
If we put something at the center of it then nothing is place at its
circumference but we places something at the center of the circle then it
doesn’t attract at the center, our eye’s movement is at the circumference
of it.
Fig. (A) Fig. (B)
object
objects

 PROPORTION :
Proportion means the ratio of the parts to the whole of display. It shows the
scaling factor.
• Do not use all large objects, break monotony and the sameness of large
the feeling.
• Use odd numbers in displaying objects.
• And small objects off odd numbers but related with large pieces create
interest and balance.
a) Proportion in pyramid b) Proportion in steps
c) Proportion in repeatition of
alternate triangles.
d) Rectangles in the form of steps
are also in proportion.

 Ratio of the merchandise to space is critical:
• Each piece of the merchandise must be considered in relation to each
other.
• The ratio of the props and show card of merchandise must be in the
proportion to avoid appearance of stress or selling our props rather than
our merchandise.
• Each object should not be too large or too small nor too heavy or too
light in proportion of the other objects in display.
• Proportion and contrast work wonders and the same is with colour and
texture. Ex: A pair of baby shoes is seen next to a big teddy bear.

 RHYTHM :
Rhythm is –
 Organised movement.
 Self contained movement from object to object.
 Background to foreground.
 Side to side.
It should lead the viewer’s eye from the dominant object to the sub-ordinate
object or from primary presentation of the grouping down to the arrangement
of the accessories or alternate parts of the display.
a) Flow by repeatition in variety
of position.
c) Progression of size. d) Radiation.
b) Continuous line movement,
(rhythm).

• Repeatition gives impact to the arrangement.
• Use elements that mean something together and relate to the
merchandise.
• English reading people read from left to right , so create display from left
to right direction.
• Create a pattern through the use of light and dark either with colours or
light.
• Overlapping of the objects placed together in the display area can
prevent the blank space that could exist with an even numbers if the
items in the display. Overlapping is good method for creating a good
flow. It is used for displaying odd numbers of display.
• Use fabric or colour that unifies the theme.

 HARMONY :
Harmony is a co-ordinating umbrella principle that is used to incorporate
all other principles.
It is an agreement in the feeling of consistency in mood.
Three forms of harmony are as follows :-
I. Functional
II. Structural
III. Decorative

 Influence of background colour on merchandise :-
Colour
of
merchandise
Black
background
White
background
Yellow
Beige
background
Dark Gray
background
Red Blue Green Orange Purple
Enhanced
in richness
Lightly
duller
Warmer
Brighter
Bright but
loses
saturation
Bright but
less
intense
Darker ,
purer
Far more
brilliant
Richer
and
darker
More
luminous
A little
more
luminous
Brighter
Paler and
sharpened
Deepens
in value
Lighter
and
yellowish
Increases
brilliancy
More
luminous
Darker
and redder
Darker
Lighter
and
yellowish
Increases
brilliancy
Brighter,
gray
becomes
greenish
Gray
becomes
green
Loses
strength
and
brilliancy

 Blue Colour merchandise show in four different backgrounds
(Black, white, beige, & gray).

 Green Colour merchandise show in four different backgrounds

 Orange Colour merchandise show in four different backgrounds

 Red Colour merchandise show in four different backgrounds (Black,
white, beige, & gray).

 Yellow Colour merchandise show in four different backgrounds

 Purple Colour merchandise show in four different backgrounds

Through these above comparison of different coloured merchandises in
the different backgrounds, I am trying to explain you the influence or the
impact of the background of the merchandise, i.e. different coloured
objects appear differently in the different backgrounds ( black, white,
beige & gray).
As an interior designer, I am showing the impact of colours in the
foreground and the background. If customers won’t attracted
towards the merchandise then there is less chances of selling that
product.

 Introduction :
Lighting Design
Light refers to that brightness which is directly coming from any source and
make us able to see things. Light is necessary to do our work, i.e. we can do
our work only when we can see anything. Lights help us to visualize each and
everything. It makes the objects colourful or make it visualize so that we can
see them.
Lights added a flavour in any design. Whithout light design is just like
that, a body without soul. A designer can increases the beauty of their design
with the help of variety of lights.
There are two types of lights :-
• Natural light - ( Daylight )
• Artificial light

 Basic categories of lights are :
• General light : It means the overall lighting of a particular space .
Eg.- lighting in a retail store, living room, kitchen etc.
• Task light : It is used for a particular purpose or task. Eg.- lighting for
cooking at the counter top of kitchen – Residential design , and to
highlight the window display of the retail shop – commercial design.
• Accent light : This type of lighting is used for decoration purpose.
Accent light
Basic
categories
of
LIGHT
Task light
General
light

 Luminaires :
“Luminaires are those objects in which lights are to be fixed.”
There are mainly two types of luminaires :
• Stationary luminaires
• Movable luminaires
Decorative luminaires are also a type of luminaires. These are used for
decorative purpose only.
These are some luminaires that are used to lighten up the space . There is
a wide variety of luminaires available in the market

 Stationary luminaires :
Stationary luminaires refers to the fixed type of luminaires. They are an
integral part of the architecture. Occasionally it is possible to vary light
direction, but rigid mounting usually means that the direction is also fixed.
Stationary luminaires can be further subdivided according to luminaire
characteristics and design..
 Downlights : As the name
implies, downlights direct light
predominantly downwards.
Downlights are usually
mounted on the ceiling. They
may be recessed, which
means that they are hardly
visible as luminaires and only
effective through the light
they emit. Downlights are,
however, also available as
surface or pendant luminaires.
A special version, which is
found more in hallways or
exterior spaces, is the wall-
mounted downlight.
Downlighter

 Types of downlights :
1. Recessed 2. Semi-recessed
5. Pendant
3. Ceiling mounted 4. Wall mounted
 Double focus downlights : These
have similar properties to
conventional downlights, but the
special form of reflector allows
high luminous efficiency even
though the ceiling aperture is
small.

 Directional spotlights: These
lights provide accent lighting of
specific areas or objects. By
redirecting the light beam they
can be used for different lighting
tasks. Their light distribution is
narrow to medium
 Uplights: In contrast to
downlights, uplights emit light
upwards. They can therefore be
used for lighting ceilings, for
indirect lighting by light reflected
from the ceiling or for illuminating
walls using grazing light. Uplights
can be mounted on or in the floor
or wall.
 Washlights: Washlighs are designed to provide uniform lighting over
extensive surfaces, mainly walls, ceilings and floors.
• Wall washers : Wall washers
illuminate walls and depending on
how they are designed, also a part
of the floor. Stationary
wallwashers are available as
recessed and surface mounted
luminaires.

 Ceiling washlights : Ceiling
washlights are designed for
brightening or lighting ceilings and
for indirect ambient lighting. They
are installed above the eye height
on the wall or suspended from the
ceiling . Ceiling washlights are
generally equipped with tungsten
halogen lamps for main voltage or
with high-pressure discharge
lamps.
 Floor washlights : These are
mainly used for lighting hallways
and other circulation zones. Floor
washlights are mounted in or on
the wall at relatively low levels.

 Movable luminaires :
In contrast to the stationary luminaires movable luminaires can be used in a
variety of locations, they are generally used in track systems or in light
structures. Movable luminaires usually also allow changes in light direction,
they are not confined to a fixed position, but can be adjusted and
repositioned as required.
 Track lights: These are movable
and fixed also. Lights are placed
on a track, and they are openable.
One or more new lights can be
added and removed from the
track.
 Spotlights: Spotlights are the
most common form of movable
luminaires. They illuminate a
limited area, with the result that
they are rarely used for ambient
lighting. Spotlights are available
in a variety of beam angles.

 Light Quantity :
The main concern is which illuminance levels and types of lighting will ensure
optimum visual performance, high productivity and safety at operating costs
which are affordable.
Both aspects of this task were examined in detail, i.e. both the
physiological question of the correlation of visual performance and lighting,
and the technical question of establishing criteria by which the quality of a
lighting installation can be measured.
The concept of quantitative lighting design with illuminance as the
central criterion, followed by uniformity, luminous colour, shadow quality,
and the degree of glare limitation, developed at a relatively early stage.
Type of lighting Area of activity Guidelines E (x)
Circulation routes
Staircases and short-stay spaces
50
100
Rooms not continually in use –
lobbies, public circulation
200
Office with daylight – oriented
workplace
300
Meeting and conference rooms 300
Office space, data processing 500
Open-plan office, technical drawings
and design office
750
Complicated visual tasks, precision
assembly, colour testing
1000
General lighting in
short-stay spaces
General lighting in
working spaces
Additional lighting for
very complicated
visual tasks
2000
Guide values for illuminance E for various areas of activity in accordance
with CIE recommendations.

• Illumination : Distribution of light or the amount of light scattered from
any light source is known as illumination .
• Lumen : It is the unit of light (measurement of light ).
Ex.- 100 Watt Bulb 1600 Lumen light.produces
• Foot candle : It means that how much light is produced from a fixed
lumen in a particular sq. ft. area .
Ex.- Home and office = 30 – 50 foot candle .
Detailed work = 200 foot candle .
• Lux : It means that how much light is produced from a fixed lumen in a
particular m. sq. area .
• Efficacy : It is the ratio of light produced to the energy consumed .
Light produced Lumen
Energy consumed Watt
=

Spaces Foot Candle ( in foot ) Lux
Min. - Max.Min. - Max.
Hallway
Entertaining zone
Dining area
Easy reading
Bathroom
Kitchen – basic
lighting
Kitchen – food
preparation zone
Difficult reading
General
workshop lighting
Fine – detailed
work ( to fix
diamonds in
jewellery )
5
10
10
20
20
50
50
100
20
50
7
20
20
50
50
100
100
200
50
100
-
-
-
-
-
-
-
-
-
-
55
110
215
540
1075
75
215
540
1075
2150
-
-
-
-
-
-
-
-
-
-
110 215
215 540
215 540
540 1075
540 1075

 Light Quality :
• Colour Redention / Rendition : Colour rendition / redention means
that how a common object will appear in the lights of different colours ,
i.e. (if we put a common object in the lights of different colours then how
it will be appear in them) .
CRI is the value of colour rendition . CRI means the colour rendering
index .
• Colour Temperature :
a) Low temperature = WARM LIGHT (2700 K – 3500 K )
Using in restaurant etc. for relaxation.
b) High temperature = COOL LIGHT ( 3500 K - 6700 K )
Spend less time and better for visual task i.e. for reading, writing,
detailing etc.
Temperature of lights using for indoor works is 2700 K – 3600 K .

 Lighting calculations :
Light travels in straight lines and requires no medium of propogation .
Inverse Square Law :
E = I / d 2
E = Illumination
I = Intensity
D = distance
. ..
Illumination reduces to a quarter of its original value when the
distance is doubled, and it also reduces to one ninth of its original value
when the distance is tripled .
a
a a
a a
a a
a a
a
a
a a a
a
4 a
9 a
d
2 d
3 d

Transmittance
Reflectance
Absorption
Reflected Light
Incident Light
=
Ceiling
Lighted up
Light source
Fig. - High Reflectance Surface
This diagram shows relationship between visual performance and task
illuminance. Higher illuminance is required as the task gets demanding.
Performance improves significantly up to a certain illuminance after which
no further significant improvement is required. Visual performance also
increases as illuminance increases but we need to be careful of glare, as it
also increases. Later glare becomes a problem in reduced performance of
a person.
 Difficulty of Task:
Illuminance
Visual
performance

 Illuminance ( E ) and Visual Performance :
Visual performance was seen to improve at the illuminance of 400 lux. But if
this was increased to 500 lux for general office lighting, performance was
more. People showed less signs of fatigue. It was further made to 1500 to
2000 lux for office work.
Code for interior lighting issued by Charted Institute of Building Services
Engineers ( CIBSE ), 1994, states the following :
Any lighting design of an interior should fulfil these three functions –
• To ensure the safety of people using the building .
• Enhance the visual environment .
• To facilitate the performance of the variety of visual tasks required.
Allowance must be made for age and poor eye sight, duration of the task
and the consequences of any error .
Illuminance must be maintained throughout the life of the
installation and must take account of light reaching the working plane
because of lamp ageing, dust collection and deterioration of the décor.
Design illuminance is taken as the illuminance at the end of the maintenance
period ( typically 2 years ).
Eye-sight of user : Human eye-sight deteriorates with age and so older
people require higher illuminance for a given task than younger people .
The average 70 years old requires 3 times task illuminance of the average
20 years old .

 LUMEN METHOD OF LIGHT CALCULATION :
This method is most suitable for interior lighting design where a high
proportion of light on the working plane is reflected by internal surfaces.
This method is called as “Luminous flux method of calculation”. This is used
to calculate the average illuminance (E) on the working planes or to calculate
the number of luminaires required to provide a specified average
illumination in rooms.
E = N (n. ) . MF . UF OR N = E x A
Where, A = area of room (m2)
N = number of luminaires required
E = maintained illuminance (lux)
= initial lamp output (lumen)
n = number of lamps in luminaires
MF = maintenance factor
UF = utilization factor
A (n. ) . MF . UF

Typically recommended
maintained illuminance
Limiting Glare
Index
Lux
Corridors & stairs
Warehouses
Medium bench &
machine work
Fine painting spraying &
finishing
Printing inspection
Proof reading / drawing
office
General office ( desk
based )
General office ( screen
based )
Super markets
100 200
100
-
500
750
1000
750
500
300
750
22
25
22
22
19
19
19
16
20
Typically recommended maintained illuminance Factor
White or cream
Yellow
Light green or pink
Sky blue or gray
Beige or brown
0.7 or 0.8
0.6
0.5
0.4
0.3

 Typical manufacturer’s data for a twin tube fluorescent luminaire
used for calculating utilization factors :
Room reflectance Room Index
C W F
0.7 0.5 0.2
0.3
0.1
0.5
0.3
0.1
0.3
0.1
0.5
0.0
0.5
0.3
0.0 0.0
0.2
0.2
0.75
NA
NA
NA
NA
NA
NA
NA
NA
NA
NA
1.00 1.25 1.50 2.00 2.50 3.00 4.00 5.00
0.61 0.65 0.67 0.70 0.71 0.73 0.74 0.75
0.58 0.62 0.64 0.67 0.69 0.71 0.73 0.74
0.56 0.59 0.62 0.65 0.68
0.60 0.63 0.65 0.68 0.69 0.70 0.72 0.73
0.69 0.71 0.73
0.58 0.61 0.63 0.66 0.68 0.69 0.71 0.72
0.56 0.59 0.61 0.64 0.66 0.68 0.69 0.71
0.59 0.62 0.64 0.66 0.67 0.68 0.69 0.70
0.60 0.62 0.64 0.66 0.67 0.68 0.690.57
0.55 0.58 0.60 0.63 0.65 0.66 0.68 0.68
0.54 0.57 0.58 0.61 0.62 0.63 0.65 0.65

 S . H . R : Space Height Ratio
Room reflectance Room Index
C W F
0.7 0.5 0.2
0.3
0.1
0.75 1.00 1.25 1.50 2.00 2.50 3.00 4.00 5.00
0.57 0.60 0.62 0.64 0.66 0.67 0.69 0.690.53
0.57 0.59 0.62 0.64 0.65 0.67 0.680.50 0.54
0.57 0.61 0.63 0.64 0.66 0.670.52 0.550.48
MF is the term that is used to take account of reduction in illumination over
the maintenance period due to :-
 Maintenance Factor ( MF ) :
100
90
Hours 6000
RSMF – Room Surface Maintenance Factor ( 90/100 = 0.9 )
Reflected light is reduced due to
the soiling of room surface.
1.)

LMF – Luminaire Maintenance
Factor ( 75/100 = )
100
75
3000 Hours 6000 Hours
Luminaire cleaned
after 3000 hours
Light loss due to luminaire
soiling
100
80
Hours 6000
LLMF – Lamp Lumen Maintenance Factor ( 80/100 = 0.8 )
Light due to lamp ageing
MF = RSMF X LMF X LLMF X LSF
LSF = Lamp Survival Factor often consider 1 .
. .
.
3.)
2.)
0.75

 Utilization Factor ( UF ) :
Utilization Factor ( UF ) take into an account the light loss due to the
absorption of light on room surface .
It depends on 3 factors :-
• Types of luminaires : A luminaire with a cons light output will have
higher UF on the working plane, then with dispersed light .
Lumen received on the work plane
Lumen output of luminaires
UF =
Light
High UF
Light scattered
everywhere
Low UF
• Room Index : This take into account the length and the width of room
and the height of luminaires from the work plane .
Low Room Index
( Low UF )
High Room Index
( High UF )
L X W
( L + W ) Hm
RI =

• Reflectance of room surface : Bright colours with high reflectance
result with higher UF which means few lamps are needed for giving
efficient energy with the lower capital cost .
Bright surface
( High UF )
Dark surface
( Low UF )
X X X X
X
X
Axial spacing
Transverse spacing
Where high levels of illuminance is required, it is common practice to use
continuous rows of luminaires with transverse spacing at the maximum
permissible. The lighting installation must be co-ordinated with other
services i.e. air conditioners and other ceiling mounted equipments .

 LED - ( Light Emitting Diode ) :
 Meaning : An LED is actually a light emitting diode . This means that it is
a small electronic semi-conductor that actually converts energy from
electricity into light of the visible spectrum .
Colours, as well as power efficiency and brightness in an LED are
determined by the actual chemical compound used inside the LED. If we look
at a standard light bulb, we will see a small filament inside. This filament is
the cause of high electrical use and when it goes bad, the light is useless. LED
doesn’t have filament, and therefore are longer lasting and take less
electricity .
 Importance / advantages of LED :
• The advantages of the LED lights
are fairly obvious- less energy use,
better technology, more brilliant
colours and hues. However, as we
move forward in high tech needs,
the LED light is taking on a more
important role in every day’s life .
• The advantages of the LED lights are fairly obvious- less energy use,
better technology, more brilliant colours and hues. However, as we move
forward in high tech needs, the LED light is taking on a more important
role in every day’s life . From LED televisions to electronic score-boards,
the LED light is taking the world by storm .
From LED televisions to electronic score-boards, the LED light is taking
the world by storm .

• In an attempt “go green”, everyone is looking for the best solution to
lower the electrical need and yet bring the quality, longevity and colour.
The LED light actually uses less electricity than those newer curled
compact fluorescent electric bulbs and the best part of all is that they
don’t contain mercury like the standard CFL bulbs (another ‘green’ plus
for LED) .
• LED lights typically have a life span of around 50,000 to 1,00,000 hours
(that’s around five to eleven years). So the original higher cost is being
reduced quite a bit .

Lighting and designing of space

1. Designing using light as an architectural element :
• Light plays a central role in the design of a visual environment. The
architecture, people and objects are all made visible by the lighting.
• It is the light that first enables “what you see?”
• Light influence our well being, the aesthetic effect and the mood of the
room or area.
Our perception of architecture will be influenced by light :
 Lights expands and accentuates rooms.
 Lights creates links and delineates one area from another.
 Light defines zone and boundaries.

2. Necessity of lighting in designing spaces :
Lighting has several functions, although to allow for artistic effect, no hard
and fast rules can ever be applied . The functions of lighting includes :
 Revelation of form : Altering the perception of shapes on space,
particularly three – dimensional elements.
 Focus : Directing the public attention to an area of the region or
distracting them from another .
 Illumination : The simple ability to what is occurring on.
Any lighting design will be ineffective if the viewer cannot see the
characters; unless this is the explicit intent.
 Contrast : Lighting of an object or area so that it becomes brighter
than its surroundings.
 Functionality : The level of illumination required for a particular
application depends greatly upon seeing the task involved and upon
the surrounding conditions.

LIGHTING OBJECTIVES
 Safety.
 To enhance appearance to advertise.
 To highlight a feature or an object, such as statue etc.
 Performance ( to allow work to be carried out in the night.
 To enable sporting events to be seen by spectators or to be
televised in the stage lighting.

3. Planning and Process :
( A ) PRE ANALYSIS :
The basis for every lighting concept is an analysis of the project:
i. The task, the lighting is expected to fulfill.
ii. The conditions and special features of a space or work surface.
 A quantitative design concept to a large extent can follow the
standards laid down for a specific task :
o The source colour and the colour rendering.
o The degree of the glare limitation.
o Standards will dictate how much light is needed.
 When it comes to qualitative planning :
o It is to be known that how it is used, who will use it and the style if the
architecture.
o It is necessary to gain as much information as possible about the
environment to be illuminated.

( B ) POST ANALYSIS:
• Preliminary light properties that lighting should possess. They may give no
exact information about the choice of lamps and fixtures.
• Further analysis provides illumination guidelines giving information about
the individual forms of lighting; i.e. high levels will need high performance
fixtures and lamps etc.
• The challenge of a qualitative lighting design is to develop a design concept
that combines the aesthetical and technical requirements of complex
guidelines.
• A concept that delivers the required performance with an equal level of
technical expertise and the highest level of artistic clarity will produce the
most convincing solution.

4) Concept of architectural lighting :
Comprehensive lighting design requires :
o Consideration of the amount of functional light provided.
o The aesthetic impact supplied by the lighting system.
o The energy consumed.
For ex:
• Public buildings , like surgical centers and sports facilities, are primarily
concerned with providing the appropriate amount of light for the
associated task.
• Official buildings , like warehouses and official buildings are primarily
concerned with saving money through the energy efficiency of the
lighting system.
• Other buildings , like casinos and theatres, are primarily concerned
with enhancing the appearance and emotional impact of the
architecture through lighting systems.

 Architectural lighting design focuses on 3 fundamental aspects of
the illumination of buildings :
• Aesthetic appeal of a building, an aspect particularly important in the
illumination of retail environments.
• The ergonomics aspect : the measure of how much of a function the
lighting plays.
• The energy efficiency issue to ensure that light is not wasted by the over-
illumination, either by illuminating vacant spaces unnecessary or by
providing more light than needed for the aesthetics or the task.
 Each of these three aspects is looked at in considerable detail when
the lighting designer is at work :
i. In aesthetic appeal , the lighting designer attempts to raise the general
attractiveness of the design, measure whether it should be subtly
blended into the background or whether it should stand out, and assess
what kind of emotions the lighting should evoke.
ii. The functional aspects of the project can encompass the need for the
project to be visible (by night mostly, but also by the day ) , the impact
of the daylight on the project and safety issues ( glare, colour confusion
etc.).

• As the design phase progression, decisions are made regarding :
 The lamps and fixtures to be used.
 The arrangement and installation of the fixtures.
 Any required electrical and control devices.
• The decision regarding lamp type can be made at the beginning of a
project or left until an advanced planning stage.
• Lighting layouts (the plan) can be determined by the choice of the light
fixture or could be the criteria for the fixture selection.
• Lighting design process should be seen as “back and forth” check in
which developed solutions are repeatedly compared to the
predetermined goals and requirements.

5) Functions of light as a design elements in residences, offices
and other working places :
 Forming functional zones : Distinct contrasts between individual zones
and their surroundings remove them from their spatial context.
a) Exterior
b) Interior :

 Forming spatial borders :
a) Vertical :
• Vertical spatial borders are emphasized by illuminating wall surfaces.
• Uniform light distribution emphasizes the wall as a whole.
• Bright walls create a high level of diffuse light in the room.
• Vertical illumination is used to shape the visual environment.
• Room surfaces can be differentiated using the different levels of
illuminance to indicate their importance.
• Uniform illumination of the surfaces emphasizes them as an architectural
feature.
Wall uniformly lit with wall fixtures

• Grazing light gives the wall structure by adding patterns of light.
• A decreasing level of the brightness across a wall is not as effective as
uniform wall washing at defining room surfaces.
• Lighting effects using grazing light emphasis the surface textures and
become the dominant feature.

 Emphasizing architectural feature :
Columns lit with grazing fixtures
Walls lit with grazing fixtures
• The illumination of
architectural details draws
attention away from the room
as a whole towards individual
components.
• Columns appear as silhouettes
in front of an illuminated wall.
• Rooms can be given a visual
structure by illuminating the
architectural features.
• Narrow-beam downlights
emphasizing the form of the
columns.

b) Horizontal :
• Floor illumination emphasizes objects and pedestrian surfaces..
• Indirect lighting of a ceiling creates diffuse light in the room with the
lighting effect being influenced by the reflectance and the colour of its
surface.
Floor lit with downlighter fixtures
Ceiling lit with uplighter fixtures

 Visual Clarity :
 Layout and pattern :
a) For Clarity :

b) For architectural relationship :
c) For function :

 Bibliography :
This project / portfolio would not be successful without the guidance of my
mentors and the references of the following :
• Notes given from the college,
• Time Saver Standards,
• Magazines available in the college library .

Commercial Space Planning Project Report

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Commercial Space Planning Project Report