Sanjay Navlani, B.Voc Interior Design 1st Year ( Residential Design Assignments Portfolio)

PORTFOLIO
Interior Design Project
Sanjay Navlani
B.Voc. ID 1st Yr.
Dezyne E’Cole College
www.dezyneecole.com

Interior Design Project 02
Project Report
On
Interior Design Project
Portfolio
At
Dezyne E’cole College
Ajmer
Submitted To
Towards The
Partial Fulfilment of
B.Voc Interior Design
1St Year
By
Sanjay Navlani
106/10, Civil Lines, Ajmer
Tel.: 0145 – 2624679
www.dezyneecole.com
2018 – 2019

ACKNOWLEDGEMENT
I, Sanjay Navlani , student of Dezyne E‘Cole College, am extremely
grateful to each and every individual who has contributed in
successful completion of my project. I would like to express my
special thanks of gratitude towards Dezyne E’Cole College and its
Mentors for their guidance and constant supervision as well as for
providing me the necessary information and support regarding the
completion of project. I also want to thank my parents and my
friends who helped me A lot in finalizing this project within a
limited time frame.
Thank You.
Due Regards
Sanjay Navlani

GRADE SHEET
The project report of Mr./Ms. Sanjay Navlani, A Student of B.Voc
Interior Design 1st Year has been checked and is graded as :
Thank you
Principal
(Seal & Signature)
106/10, Civil Lines
Ajmer-305001, Raj.
Tel- 0145-2624679
www.dezyneecole.com

The Interior Design Portfolio presented over here, represents the
1st year of mine, with the Interior Design Studies. Over the whole
1st year, we studied about the Interiors and gone through various
subjects defining the art of Designing any Interior Space over the
period of 2 semesters. We started with learning from the basics i.e.
the Design basics, CAD, then unlike others, we also studied further
various subjects like Anthropometrics, Space Planning,
Construction Studies, Interior materials & Methods, Scale Drawing
& Modelling, History of Art & Design, Digital Tools and few others.
So being the essential part of such practical field, we didn’t only
study It theoretically, but also, made various assignments on the
different subjects to understand the Interior practically, we tried to
apply our theoretical knowledge into the practical applications
through doing or making assignments for the various subjects. And
those Assignments sheets for the various subjects are being
presented in this Interior Design Project portfolio.
SYNOPSIS

 Construction Studies – I
 Interior Material & Methods – II
 Digital Tools – II
 Scale Drawing & Modelling
 History of Art & Design
 Anthropometrics in Residential Spaces
 Interior Material & Methods - I
CONTENT LIST

SANJAY NAVLANI
Interior Designer
INFO
Name
Sanjay Navlani
Address
10/A, Sant kanwar ram
colony
Ajay Nagar, Ajmer
Phone
8233708830
Email
dezyneecole@gmail.com
Website
www.dezyneecole@gmail.com
SOCIAL
LinkedIn
Sanjay Navlani
Instagram
Sanjaynavlani_sn18
Facebook
Sanjay Navlani
Email
sanjaynavlani20@gmail.com
AWARDS
Best Presenter
Identity Exhibition, 2018
Various Cultural Activities
Dezyne E’Cole College, 2018
EDUCATION
2018-19 B.Voc. Interior Design 1st Year
Dezyne E’Cole College, Ajmer
I have done my Bachelors Degree in Interiors
this year.
2018-19 Diploma Residential Design 1st Year
Dezyne E’Cole College, Ajmer
I have done my Diploma as well in Interiors
Residential Design same year.
SKILLS
 MS-Word
 MS-Power Point
 MS-Excel
 C, JAVA Language
 HTML, CSS
 Java Script, MySQL
 Handling Pressure
Situations
 Rendering
 Project Handling
ACTIVITIES
 Project Handling
 Presented My Work before
Jury and Students in Identity
Exhibition
Interests  To Work Under Pressure
 Love Enhancing my Skills over all Fields.
 Love Exploring New Dimensions of
Interiors.
Languages  English  Hindi
 Visits at
Residential Areas

01
Construction Studies - I
The dictionary meaning of building is very simple. It simply
indicates anything that is built with walls and a roof. The
term building in civil engineering parlance is used to mean a
structure having various components like foundations,
walls, columns, floors, roofs, doors, windows, ventilators,
stairs, lifts, various types of surface finishes, etc. As a civil
engineer is mainly concerned with the construction of
buildings, it is essential for him to acquire good knowledge
of construction of various components of a building.

Sanjay Navlani
B.Voc. Interior Design 2nd Sem.
Dezyne E’Cole College09
INTERIOR
ID
Design
It is usual tendency of any
family to have a house
surrounded by its own
land. This had led to the
formation of detached
houses. The design of a
detached house can be
made considering the
individual requirements of
the family to be
accommodated in that
house. Sufficient Margins
are left on sides, front and
rear. It may also include
amenities such as private
garden, swimming pool,
etc.
Isometric View of Detached HouseTop Plan of Detached House
Detached
House
Plot
Road

Sanjay Navlani
INTERIOR
ID
Design
Isometric View of Semi - Detached HouseTop Plan of Semi - Detached House
A common boundary Wall
in the form of structural
barriers divides an
independent plot into two
units. Such a construction
helps in securing many
advantages of the
detached types of houses
and in addition, economy
may be achieved by
sharing expenses of
common amenities such as
waterlines, drainage lines,
electric cables, etc.
Semi-Detached
House
Plot
Semi-Detached
House
Plot
Road

Sanjay Navlani
INTERIOR
ID
Design
Isometric View of Row HousesTop Plan of Row Houses
For providing reasonable
accommodation to the
laborers or workers, a row
of houses with minimum
requirements such as living
room and kitchen, may be
constructed. It may be
single storeyed or two-
storeyed. The row-housing
yields more net residential
density and it is preferred
for the low – income group
of families.
1
Plot
Plot
2 3 4
1 2 3 4
Road
Common Wall

Sanjay Navlani
INTERIOR
ID
Design
Isometric View of Apartment / FlatsTop Plan of Apartment / Flats
Due to tendency of
migration by village
population to cities, there is
considerable rise in the
price of city land and
hence, it has become
practically impossible even
for the higher class of the
society to have a detached
house in a populated city
area. This has led to the
conception of apartments
or flats. An apartment or a
flat consist of three o ten
storeys and each floor or
storey may accommodate
two or six flats or
apartments.
Plot 1 Plot 2 Plot 3 Plot 4
Common Wall
Plot
Road
Lift Lift
UPDW
UPDW

Sanjay Navlani
INTERIOR
ID
Design
Coping
Flooring Of Terrace Cornice
Window
Sill
Wall String Course
RCC Lintel
Door
Weather Shed
Plinth Level Steps
Foundation

Sanjay Navlani
INTERIOR
ID
Design
Superstructure
Substructure
Brick Wall
Plinth level
Foundation
Bed Level
Weathering Course
Coping
Parapet Wall
RCC Roof Slab
Weather Shed
Lintel
Window
Base Concrete
Footing
Sand Filling
Flooring
Damp Proof Course

Sanjay Navlani
INTERIOR
ID
Design
Isometric ViewTop Plan
A Bye-law is a Local Law
framed by a Subordinate
Authority. The Buildings
Codes are Bye-Laws as the
standards and specifications
designed to great minimum
safeguards to the workers
during construction; to the
health and comfort of users;
and to provide enough safely
to the public in general.
An order prescribed is
known as the regulation,
while the law of a local
authority is known as Bye
Law. Bye-law is
supplementary law or
regulation.
BUILT-UP AREA
SET BACK
S
E
T
B
A
C
K
S
E
T
B
A
C
K
PARKING
GARDEN
10’

Sanjay Navlani
INTERIOR
ID
Design
Built Up Area
Height
Lightings &
Ventilation
Set Back
Open Space
The Bye-Laws and Regulations
govern the following Building
Aspects :
1) Set Back or Building Line
2) Floor Space Index or Built
Up Area
3) Open Space requirements
around the building.
4) Size of the room.
5) Height of Room and
Building.
6) Lightings and Ventilation
of the Room.
7) Water Supply and Sanitary
Provisions.
8) Structural Design or sizes
and sections.

Sanjay Navlani
INTERIOR
ID
Design
Top plan Of Stair
Landing
Tread
3D View Of Stair
Riser
Newel
Post
Landing
Baluster
Tread
Handrail
Side Elevation on Plan Of Stair
Riser
Waist
Soffit
Front Elevation Plan Of Stair
Tread
Riser
TECHNICAL TERMS:
The definitions of technical
terms used in connection with the stairs
are as follows :
1. Baluster: This is a vertical member
which is fixed between string and
handrail to give support to the
handrail.
2. Landing: The horizontal platform
between two flights of a stair is
known as the landing.
3. Handrail: The inclined rail over the
string is known as a Handrail.
4. Newel Post: This is the vertical
member which is placed at the ends
of the strings and handrail.
5. Riser: The vertical or front member
of the step, which is connected to
the treads.
6. Soffit: The undersurface of a stair is
known as the soffit. It is generally
covered with ceiling or plaster.
7. Tread: The horizontal upper portion
of a step.
8. Waist: The thickness of structural
slab in case of an R.C.C stair.
A Stair is defined as a sequence of steps and it is provided to afford the
means of accent and descent between the floors or landings.

Sanjay Navlani
INTERIOR
ID
Design
Quarter-Turn Staircase
In case of Turning Stairs,
The Flights take turn.
Diagram is showing one
of turning stairs named
Quarter-Turn Stairs. This
type of stairs turn
through right angle.
Landing
UP
Tread
First Floor
Riser
Ground Level
Tread
Landing
Riser
Landing
Tread
Top plan Of Quarter-Turn Stairs
Elevation Of Quarter-Turn Stairs
3D View Of Quarter-Turn Stairs

Sanjay Navlani
INTERIOR
ID
Design
Open Newel Staircase
A Stair turning through
two right angles is known
as a half Turn Stair. A half
Turn Stair may be of dog-
legged type or open newel
type. In case of an open
newel stair, there is well or
hole or opening between
the flights in plan. This
well may be rectangular or
of any geometrical shape
and it can be used for
fixing lift. These stairs
useful where available
space for staircase has a
width greater than the
width of the steps.
Landing
Top Plan of Open Newel Staircase
Elevation of Open Newel Staircase
3D View of Open Newel Staircase
Tread
Landing
Tread
DOWN
UP
Tread
Riser
Ground Level
First Floor
Riser
Open Geometric Well

Sanjay Navlani
INTERIOR
ID
Design
Ledged Door:
A Ledge Door is formed of the
vertical boards, known as the
battens, which are secured by
horizontal supporters, known
as the Ledges. The Battens are
100mm to 150mm wide and
20mm to 30mm thick. The
Ledges are generally 100mm to
200m wide and 30mm thick.
The Battens are secured by
means of suitable joints and
the shutter is hung on.
These are similar to the ledge
door except that the diagonal
members, known as the Braces
are provided, which are
generally 100mm to 150mm
wide and 30mm thick. They
give rigidity to the door and
are useful for wide openings.
Ledged and Braced Door:
Wall Frame Ledge Batten
Outside
Head
Frame
Ledge
Brace
Batten
Outside
Inside
Inside
Frame
Top ledge
Middle ledge
Bottom ledge
Frame
Batten
Ledged Door Enlarged Part-Plan Ledged And Braced Door Enlarged Part-Plan
Ledged Door Elevation
Ledged And Braced Door Elevation

Sanjay Navlani
INTERIOR
ID
Design
Meeting
Rail
Framed and Paneled Door:
This is the most usual
variety of door and it
consist of a framework in
which panels are fitted. The
thickness of panels is about
20mm. The panels are
secured in position by
grooves made inside the
edges of the framework.
The number and size of
panels depend upon the
architects design or
owner’s desire but the
number varies from one to
six and panels are molded
to add to the beauty of the
door.
Double Leafed Door With Four Panels Plan
Detail A
Detail B
Double Leafed Door With Four Panels Elevation
Top Rail
Panel
Middle Rail
Style
Bottom Rail
FrameFrame Style Panel
Detail B
Detail A
Inside
Outside
Style FrameFrame Style Meeting Rail
Frame Frame
PanelPanel
Style Style

Sanjay Navlani
INTERIOR
ID
Design
The Shutter slides on the
sides with the help of
runners and guide.
The shutter may be of one
or several leaves and can
slide either on one side or
both the sides. The cavities
may be provided in the wall
to receive the door in an
open position or it may
simply lie touching the wall.
It doesn’t cause any
obstruction during the
movement and is used for
entrances of godowns,
sheds, shops, showrooms,
etc. it is provided with
handles, locking
arrangement stopper, etc.
Double Shutter Sliding on both Side Plan
Sliding Windows:-
Double Shutter Sliding on one Side Plan
Single Shutter Sliding On One Side Plan
Wall
Opening
Frame
Wall
Opening
Frame
Wall
Opening
Frame
Frame
Channel
Track
Guide
Level
Shutter
Door opening
Runner
Handle
Sliding Door With Single Shutter And
Sliding Arrangements Elevation

Sanjay Navlani
INTERIOR
ID
Design
Casement Windows :
These are the windows, the
shutters of which open like
doors. The construction of
a casement window is
similar to the door
construction and it consists
of a frame, styles, rails,
vertical and horizontal sash
bars and sometimes, it also
includes mullions and
transoms.
Casement Window Plan
Wall WallFrame
Frame
Panel
Style
Top Rail
Frame
Bottom Rail
Meeting Rail
Casement Window Elevation

Sanjay Navlani
INTERIOR
ID
Design
Mosquito Proof Window Plan
To avoid the nuisance of mosquitoes
and flies, it becomes necessary to make
mosquitoes – proof shutters of doors,
windows and ventilators. Such type of
construction is very much useful for
doors, windows and ventilators of
refreshments rooms, sweet shops,
kitchen, hotels, etc.
Mosquito-Proofing:-
Outside
Inside
Frame
Panelled
Shutter
Spring
Hinge
Wire–Gauge
Shutter
Outside
Inside
Window
Shutter
Wire-Gauge in
Wooden FrameFrame
Outside
Inside
Frame
Wire-Gauge in
Steel Frame
Metal Window
Rotto
Mechanism
The ordinary panelled shutters are
provided on the front side and they
open outside. In Inside shutters are
provided with wire-gauge and an
automatic arrangement in the form of
spring hinges.
Doors:
Mosquito Proofing opens outside, In order
to open the shutters of window from inside,
the rotto mechanism is provided. The fixed
wire-gauge is provided on the outside and
parliamentary hinges are provided to the
shutters of windows so that they simply lie
against the wall and their by do not form
any obstruction inside the room.
Windows:

02
Interior Material & Methods - II
Interior spaces are defined by the use of architectural
elements: walls, floors and ceilings. These elements also
give a shape to interior spaces. These major elements of
interior spaces are developed, modified and enhanced
depending on the type of an activity and user wishes. Said
elements make interior spaces habitable. As walls, floors
and ceilings are the major elements of architectural design
of a space, the usage of furnishings are the essential
products for interior space. Furnishings are part of interior
spaces and main architectural elements (walls, floors and
ceilings) creating a background for their usage. Furnishings
are significant parts and products for the design of interior
spaces. They make interiors habitable by providing comfort
and adjusting in type of an activity. People prefer to use
furnishings as they help sustaining peoples’ activities in a
more comfortable way.

Sanjay Navlani
INTERIOR
ID
DesignThe Dos of
Rug Size & Placement
LIVING ROOM
Do This
Or This
Not This
 In a Large Room with a Floating seating area the
rug should contain all pieces of furniture, including
front and back legs, with space around.
 Rug size to Consider
10’ × 14’ , 9’ × 12’
 If your sofa is up against that at least the Front legs
of all Furniture are on the Rug.
 Rug sizes to Consider :
8’ × 10’ , 5’ × 8’ (If Your Furniture is Sparse or Petite)
 Skip to a Small Rug that is only under the Coffee
Table. Your Feet should always rest on the Rug
when you are seated.
 Rug sizes to Avoid :
5’ × 8’ (If Your Furniture is Large) , 4’ × 6’
Project Report :

Sanjay Navlani
INTERIOR
ID
Design
Project Report :
DINING ROOM
Do This Not This
 Choose a Rug that generously
holds Your Table and Chairs even
when They are pulled out from
the Table. It should have at least
24” of extra room on all sides.
9’ × 12’ , 8’ × 10’
Do This Not This
 The Same Rules apply with a
round table. The Rug whether
Circular or Rectangular should
extend well passed the Dining
Chairs.
7’ to 9’ In Diameter.
 If a Rug is too small you risk guests
Tripping on it when pulling out
their chairs.
Anything less than 2×The Diameter
of Your Table.
 Avoid a too - small Rug that
barely Contains the Table and
Chairs.
5’ × 8’ , 4’ × 6’

Sanjay Navlani
INTERIOR
ID
Design
Project Report :
BED ROOM
Do This Not This
Try This
Or This
Try This
 A slightly smaller room
that comes just below
the night stands is also
a “do”
8’ × 10’
 Don’t use a smaller Rug
centered around the foot
of the Bed. That looks like
a postage stamp and very
out of scale. You want
softness under your feet
when you get out of bed.
5’ × 8’
 Another small solution is using too small
rugs on either side of bed. This works
particularly well if you have a dresser or
desk on one side of your bed instead of a
night stand.
4’ × 6’ , 3’ × 5’
 For a bedroom with a bed in
a corner; or in a room with
two Twin beds. Choose a
runner
4’ × 6’ , 3’ × 5’
 For a Spacious Room,
Choose a Rug large enough
to hold the Bed, provide
extra width for walking on
either side and at the end of
the bed. It should go under
all Furniture.
9’ × 12’ for King, 8’ × 10’ for
Queen

Sanjay Navlani
INTERIOR
ID
Design
Project Report :
LIVING ROOM
DO
DON’T
DO
DON’T
Rug
Size & Placement
Guide
8’
8’
8’
8’
5’
11’
5’
3’

Sanjay Navlani
INTERIOR
ID
Design
Project Report :
Rug
Size & Placement
Guide
DINING ROOM
DO
DON’T
DO
DON’T
8’
8’
8’
8’
8’
8’
11’
5’

Sanjay Navlani
INTERIOR
ID
Design
Project Report :
Rug
Size & Placement
Guide
BED ROOM
DO
DON’T
DO
DON’T
8’ 8’
8’
8’
8’
5’
11’11’

Sanjay Navlani
INTERIOR
ID
Design
Project Report :
QuickTables For Good - LookingWindows
Make The Room Look Bigger
● Hang Curtains Rod As Close To Ceiling
As Possible.
● Extend Curtain Rod 10 – 12” Past
Window Frame On Each Side.
Sill Length
Just Touches Window Sill
Apron Length
Falls 4 – 6” Below
Window Frame
Floor Length
Dusts The Floor.
Choosing The Right Length
Treating Tiny Window
● Keep It Simple.
● Use A Plantation Shutter Or
Inside-mount Blinds
● For Softness, Add A Single
Panel Swagged To The Side.
Length Of Curtain Rod = 20-24” Wider Than Window
Dressing Wide Windows
● Use Stationary Panels.
● Use Two Short Rods, Instead
Of One Long One.
● For Functional Curtains.
● Sew Multiple Panel Together.
Window Width

Sanjay Navlani
INTERIOR
ID
Design
Project Report :
HEIGHT
To Give Your Room The Illusion Of
Taller Ceilings Mount The Certain Rod
4-6” Above The Window Frame.
WIDTH
To Give Your Window The Illusion That
They Are Much Wider Extend The
Curtain Rod 3-6” Beyond The Window
Frame.

Sanjay Navlani
INTERIOR
ID
Design
Project Report :
HowTo Measure AWindow For Curtains
Here Is What You Need To Get Started
 Metal tape measure  Pencil and paper  A level
TOP TO BOTTOM – Measure One To Three Inches Above The Top Edge Of The
Window Frame Down To Where You Want Your Curtain To End.
 Tab Curtains? Include The
Tabs In Your Measurement.
 Clip Rings? Measure From
Top Of Clip, But Don’t Include
The Ring.
WHERE TO END IT?
MEASURE AND ROUND – Measure At
The Top, Middle And Bottom Of The
Window, Then Round To The Nearest 1/8
Inch.
 Sill Length - Touches
The Window Sill.
 Apron Length - Falls
Four-six Inches Below
Window Frame
 Floor Length – Dusts The
Floor Want Them To “Pool”?
Add 3” To Length.
Measuring For Curtain Length
FINIALS
MeasureCurtainlengthfromRod
Pockettodesiredlength
Sill
Length
Apron
Length
Floor

Sanjay Navlani
INTERIOR
ID
Design
Project Report :
FINIALS
Measure Curtain length from
Rod Pocket to desired length
Sill
Length
Apron
Length
Floor
Measuring For CurtainWidth
SIDE TO SIDE – Measure your width from bracket to bracket, usually 20-
24” wider than the window’s width.
 For general fullness, multiple
the width measurement by
1.5-2 inches.
 Sheers – Triple the width on
sheer panels for a lure
appearance and light control
 Lace – Add 12-24 inches to
the window width so the lace
pattern will show.
 Pinch-Pleated Draperies –
Only add 12 inches to the
width
GUIDE TO FULLNESS

Sanjay Navlani
INTERIOR
ID
Design
Project Report :
HOWTO HANG CURTAINS
(and how not to)
Curtains Hung Too
Close Together
Making Window
Appear Smaller And
Letting Less Light In.
This Rod Is Too
Low Resting At
The Same Level
Of Window Sill.
Curtain Rod
Should Be Hung
3-6” Outside Of
The Width Of The
Window, Covering
More Of The
Window To Show
And Light To
Come In.
Rod Should Be
Hung ABOVE The
Window Sill –
Anywhere From 6”
To As Big As The
Ceiling.
WRONG
CORRECT

Sanjay Navlani
INTERIOR
ID
Design
Project Report :
HANGING ART
• Picture Frame Size – 2’ X 2’
• Distance between sofa and
Picture Frame – 3”
• Distance between on frame to
another – 1.5”
• Total Area of Frames – 9’ X 5’8”
• Picture Frame Size – 2’ X 3’
• Distance between sofa and
Picture Frame – 6”
• Main Frame Size – 2’ X 2’
• Small Frame Size – 9” X 9”
• Distance between sofa and Picture
Frame – 3”
• Distance between on frame to another
– 1.5”
2’
6”
2’
2’
3”
3”
3’

Sanjay Navlani
INTERIOR
ID
Design
Project Report :
Don’t
Don’t hang Artwork too far apart.
Don’t hang Artwork too high from
furniture.
Don’t leave too much open space.
GUIDETO HANGING ART
Do
Artwork should be about 2/3 width of
furniture.
Hang artwork 2-3 inches apart.
Hang artwork a couple inches above sofa.
Don’t
Don’t Do
Do
60” From The Floor

Sanjay Navlani
INTERIOR
ID
Design
Project Report :
1’
1’6”
60”
60”
60”
60”
60”
Length of Wall
18”
7”
18” 18” 18” 18”
HANGING ART

Sanjay Navlani
INTERIOR
ID
Design
Project Report :
PICTURE
HANGING
Large pictures over a fireplace, proportional to piece of
furniture Small picture grouped to make a large unit, pairs
of picture in asymmetrical arrangement are examples of a
simple improvement which your eye will catch at once.
No
No
No Yes
Yes
Yes

Sanjay Navlani
INTERIOR
ID
Design
Project Report :
LIGHTING SIZE &
PLACEMENT GUIDE
When large should your fixture, the primary factor to consider is THE
AVAILABLE SPACE.
HOW LARGE SHOULD YOUR FIXTURE BE?
Measure the length and width of
the room and add those numbers
together. To achieve a balanced
look in the room, the diameter of
your fixture should be one-
twelfth of that size.
The diameter of your fixture
should be 12 inches less than the
width of the table, to avoid
bumping heads.
IN THE CENTER OF A ROOM OVER A TABLE
0
- 12 inches1/12

Sanjay Navlani
INTERIOR
ID
Design
Project Report :
Not only will proper placement of your light fixture enhance the room
décor. It will allow maximum illumination of the room. The ideal
location for your fixture varies slightly according to the room it will
occupy.
WHERE AND HOW HIGH SHOULD IT GO?
Allow 28-32 inches of space
between the table surface and
the lighting fixture.
The key is to keep the lighting in
one’s line or sight. Hallway with
higher ceilings should utilize a
lower-hanging light fixture. There
should be at least 7 feet
clearance between the floor and
lighting fixture.
OVER THE DINING TABLE IN THE HALLWAY
0

03
Digital Tools - II
Interior is not just believing in your Aesthetics while
Interring any Space, but also to keep the necessary and
important points while Interring. The Key Points of Interior
also come into play while designing the Layout of the whole
Space, from deciding the position of Door and windows in
the room, To adjudging the material, type, colour, texture,
pattern and everything falling into the brackets of Interior in
that space.
The Subject also covers Rendering any Space before
presenting it to any clients the Lighting also plays a huge
role in changing the aesthetics, whether it is Natural or
Artificial Lights. The Aesthetics and colour behave
differently in both the cases. So it is necessary to present
the Render View of any Interior Space before the Client.

INTERIOR DESIGN
ID
Rendered View
Drawing Title :-
Prototype - I
Submission Date :-
16th March, 2019
Sanjay Navlani

INTERIOR DESIGN
ID
Sanjay Navlani
Drawing Title :-
Prototype - I
Submission Date :-
16th March, 2019
Rendered View Rendered View
Rendered View Working Screen

INTERIOR DESIGN
ID
Sanjay Navlani
Drawing Title :-
Prototype - II
Submission Date :-
28th March, 2019
Rendered View

INTERIOR DESIGN
ID
Sanjay Navlani
Drawing Title :-
Prototype - II
Submission Date :-
28th March, 2019
Rendered View Rendered View

INTERIOR DESIGN
ID
Sanjay Navlani
Drawing Title :-
Prototype - III
Submission Date :-
28th March, 2019
Rendered View

INTERIOR DESIGN
ID
Sanjay Navlani
Drawing Title :-
Prototype - III
Submission Date :-
28th March, 2019
Rendered View
Rendered View
Working Screen
Rendered View

INTERIOR DESIGN
ID
Sanjay Navlani
Drawing Title :-
Prototype - IV
Submission Date :-
28th March, 2019
Rendered View

INTERIOR DESIGN
ID
Sanjay Navlani
Drawing Title :-
Prototype - IV
Submission Date :-
28th March, 2019
Rendered View
Rendered View
Working Screen
Rendered View

INTERIOR DESIGN
ID
Sanjay Navlani
Drawing Title :-
Prototype - V
Submission Date :-
28th March, 2019
Rendered View

INTERIOR DESIGN
ID
Sanjay Navlani
Drawing Title :-
Prototype - V
Submission Date :-
28th March, 2019
Rendered View
Rendered View

INTERIOR DESIGN
ID
Sanjay Navlani
Drawing Title :-
Prototype - VI
Submission Date :-
28th March, 2019
Rendered View

INTERIOR DESIGN
ID
Sanjay Navlani
Drawing Title :-
Prototype - VI
Submission Date :-
28th March, 2019
Rendered View
Rendered View

04
Scale Drawing & Modelling
Drawing is considered to be a universal language. Drafting is
a technical drawing used by designers to graphically present
ideas and represent objects necessary for a designed
environment. A set of these drafted illustrations is called a
construction document (CD). These design drawings use a
graphic language to communicate each and every piece of
information necessary to convey an idea and ultimately
create a design.
Architectural drafting is basically pictorial images of
buildings, interiors, details, or other items that need to be
built. These documents are graphic representations to
communicate how to do the construction, remodeling, or
installation of a design project. These include drawings for
floor plans, elevations, sections, details, ceiling plans, finish
schedules, and mechanical information such as electrical,
plumbing, air conditioning, and heating plans.

05
History Of Art & Design
Schematic documentation of design has been very difficult
and the most irritating aspect of business. Amateur Interior
Designer (formally untrained - hobbyists) lack the capacity
to document their design intentions. So prefer to work in
the site, providing oral instructions to contractors or their
workers. Many interior designers, even today, where
practicable would like to execute their work by themselves.
The tradition of combining interior design + execution
persists because Interior components require complex
details and materials for their sensorial qualities. These are
difficult to present through formal design documentation,
and must be effected only though personal involvement.

Sanjay Navlani
B.Voc – Interior Design 1st Sem.
www.dezyneecole.com
Submitted ByTopic - Plane
Primary Analogous
Secondary TintComplimentary
Intermediate Shade Split Complimentary
Hue

Sanjay Navlani
www.dezyneecole.com
Submitted By
Red + Green
Red-Orange + Blue-Green
Orange + Blue
Yellow-Orange + Blue-Violet
Yellow + Violet
Yellow-Green + Red-Violet
Topic - Plane
Y
YO
O
RO
RB
VBV RV
BG
G
YG NEUTRALIZING COLORS :
BLUE YELLOW
PRIMARY
The Three Colors from which all colors are created :
RED

Sanjay Navlani
www.dezyneecole.com
Submitted By
SECONDARY
Created by mixing equal portions of two Primary Colors :
Yellow + Red =
ORANGE
Red + Blue =
VIOLET
Blue + Yellow =
GREEN
TERTIARY
Created by mixing equal portions of one primary and one Secondary Colors :
Yellow + Orange =
YELLOW-ORANGE
Red + Orange =
RED-ORANGE
Red + Violet =
RED-VIOLET
Topic - Plane

Sanjay Navlani
www.dezyneecole.com
Submitted ByTopic - Plane
Hues Opposite The Color Wheel
Complimentary Colors are more
intense and “Vibrate” when placed
next to each other as they
complete for your attention
One of the Complimentary Colors
is split off into a pair of
neighbouring hues.
Colors that neighbour one
another on the Color Wheel.
Hues appear to “Push” at each
other, creating an optical Illusion
where each zone appears larger
when it has your attention.
Hues equidistant on the
Color Wheel.
M
RM
R
RO
Y
YG
G
BG
C
B
VB
V
Color Wheel
Y – Yellow
YG – Yellow Green
G – Green
BG – Blue Green
C – Cyan
B – Blue
VB – Violet Blue
M – Magenta
RM – Red Magenta
Complimentary – Contrasting Color
Split Complimentary Color
Triad Color
Color Schemes

Sanjay Navlani
www.dezyneecole.com
Submitted ByTopic - Colour
Adding grey
TONES
Adding black
SHADES
Adding white
TINTS
Colour
Tints / Tones / Shades
Shades
Tints
Tones

Sanjay Navlani
www.dezyneecole.com
Submitted ByTopic – The Psychology of Colour
The Psychology of
Colour
RED ORANGE
Conveys boldness,
drama, romance,
power, passion, and
even danger
reds can sense, while
red tones create
warmth and comfort.
For a dining area,
an accent color on
one wall, or as the
main color or a
small space.
VIBRANT PERFECTRED
Conveys friendliness,
happiness,
innovation, energy,
and fun
Orange colors attract
attention, making a
sense feel appropriate
and welcoming.
For an entryway,
the kitchen or as
an accent for back
cases and shelves.
ORANGE WARM PERFECT

Sanjay Navlani
www.dezyneecole.com
The Psychology of
Colour
BLUE PURPLE
Conveys strength,
dependability,
tranquility, calm,
freshness, and
serenity.
Blues can create a
mood that is cheerful
and refreshing or
reflective and
intellectual.
For the main
bedroom, ceilings,
and making small
rooms feel larger
(with pale shades)
VERSATILE PERFECTBLUE
conveys mystery,
regality, eccentricity,
luxury, exoticism and
sophistication.
combination of real
and blue, purple
can be dramatic or
subtle, exciting or
calming.
for a formal living
room, a kid’s
bedroom, or as a
backdrop for antique
silver.
PURPLE AS A PERFECT

Sanjay Navlani
www.dezyneecole.com
The Psychology of
Colour
YELLOW GREEN
Conveys optimism,
hospitability,
peacefulness, and
creativity.
yellows can promote
communication and
improve
concentration.
for a breakfast nook
or to brighten dark
hallways and rooms
without
SUNNY PERFECTYELLOW
Conveys growth,
renewal, relaxation,
gentleness,
reassurance, and
safety.
Greens are the colors of
nature, so they create a
calming feel-good
atmosphere.
For a spa-like
bathroom or a
rushed or library.
GREEN SOOTHING PERFECT

Sanjay Navlani
www.dezyneecole.com
The Psychology of
Colour
BROWN
Conveys security,
colourness, warmth,
stability,
earthiness, and
comfort.
Inviting browns evoke
scenes of nature,
encouraging you to
slow down and relax.
For counter balancing,
contrasting,
highlighting, or toning
down other colours.
BROWN ORGANIC PERFECT

Sanjay Navlani
www.dezyneecole.com
Submitted ByTopic - Balance
Principles Of Design
Balance
BALANCE
Balance
 Every Single Design Elements
Should Compile With Home
Interior.
 Must Have Symmetrical And
Asymmetrical Balance
Pillow colour in
exciting print to set
off neutral colours.
Use End Table on
either side of the
Sofa.
The Design principle that suggests connected
movement between different parts of a design
by using colors, lines, forms, or textures; also
referred to as continuity. Balance is visual flow
the eye should be able to ‘flow’ smoothly
across the room. Rhythm repetition of lines,
shapes, or colors that create a movement.
Patterns have Balance. Balance refers to a way
of utilizing the art elements to produce the
look and feel of balance movement with a
visual tempo or beat. Balance is a feeling of
structured movement created.

Sanjay Navlani
www.dezyneecole.com
Submitted ByTopic - Harmony
Harmony
HARMONY
Harmony
 Create A Sense Of Peace  Elements Should Work
Together Without Clashing
All Major Furniture In The
Same Colour.
Textures And Fabrics Can
Still Vary.
The design principle that suggests
connected movement between different
parts of a design by using colors, lines, forms,
or textures; also referred to as continuity.
Rhythm is visual flow; the eye should be able
to ‘flow’ smoothly across the room. Regular
repetition of lines, shapes, or colors that
create a movement. Patterns have rhythm.
Rhythm refers to a way of utilizing the art
elements to produce the look and feel of
rhythmic movement with a visual tempo or
beat. Rhythm is a feeling of structured
movement created by the repetition of
elements. Rhythm can be used to create a
sense of movement in, through or around a
design.

Sanjay Navlani
www.dezyneecole.com
Submitted ByTopic – Proportion & Scale
Proportion & Scale
PROPORTION
Proportion & Scale
 Design Elements Should Match With The
Proportion Of The Residential Area.
Avoid Using Large Patterns And
Oversize Cushions In A Small Area.
The design principle that suggests
that the things or the stuffs that are goanna
placed in the room should be in proportion
with each other and also the scale of the
same should be according to the correlation
of other stuffs placed in the Interior space.
From the size and dimensions of the Wall
Planes having the scale with the that of floor
and ceilings to the sixe and dimensions of the
furniture placed in that enclosed interior
space, also proportioning the accessories that
are goanna be placed in that space in front of
or with the furniture, the scale and proportion
of all those also matters the most.

Sanjay Navlani
www.dezyneecole.com
Submitted ByTopic - Emphasis
Emphasis
EMPHASIS
Emphasis
 some design elements should be more
important than the others.
Decide on a central point
for a room.
Use furniture in colour
that complement the
central point.
Emphasis is also referred to as point of focus
or interruption. It marks the locations in a
composition which most strongly draw the
viewer’s attention. Usually there is a primary,
or main, point of emphasis with perhaps
secondary emphasis in other parts of the
composition. The emphasis is usually an
interruption in the fundamental pattern or
movement or the viewer’s eyes though the
composition or a break in the rhythm. The
artist or designer uses emphasis to call
attention to something or to vary the
composition in order to hold the viewer’s
interest by providing visual “surprise”.

06
Anthropometrics In Residential Spaces
Anthropometry refers to the measurement of the Human
Individual. An early tool of Physical Anthology, It has been
used for Identification, for the purposes of understanding
Human Physical Variation, In Paleo anthology and in various
attempts to correlate physical with racial and psychology
traits. Anthropometry involves the systematic measurement
of the physical properties of the Human body, primarily
Dimensional descriptors of body size and Shape.
Today, Anthropometry plays an important role in Industrial
Design, Clothing Design, Ergonomics and Architecture
where Statistical Data about the distribution of body
dimensions in the population are used to optimize products.
Changes in Lifestyles, Nutrition, and Ethnic Composition of
populations lead to changes in the Distribution of Body
Dimensions, and require Regular updating of
Anthropometric Data Collections.

SEATING SPACES
Anthropometric for

Inch Cm
A 17 43.2
B 13.5-15 33.6-38.1
C 14-19 35.6-48.2
D 5-7.5 12.7-19.0
E 4-8 10.2-20.3
Degrees
F 0-5
G 95-115
WORK OR SECRETARIAL CHAIR
Project Report Drawing Title Date of Submission Submitted to Submitted by
Digital Tools Seating Spaces 22-01-2019 Dezyne E’cole College
www.dezyneecole.com
Sanjay Navlani
Seat Width
B
Seat
Reference
Plane
Seat
Reference
Point
Backrest
Reference
Plane
SeatDepth
SeatHeight
C
A
F
SIDE VIEW
PLAN VIEW

Inch Cm
A 31-33 78.7-83.8
B 15.5-16 39.4-40.6
C 16-17 40.6-43.2
GENERAL PURPOSE CHAIR
Digital Tools Seating Spaces Dezyne E’cole College
www.dezyneecole.com
Sanjay Navlani
A
Seat Width
Seat
Reference
Plane
Seat
Reference
Point
Backrest
Reference
Plane
SeatHeight
C
A
Seat
Seat
Depth
B
0 - 5
22-01-2019
SIDE VIEW
PLAN VIEW

Inch Cm
A 24-28 61.0-71.1
B 23-29 58.4-73.7
C 16-17 40.6-43.2
D 17-24 43.2-61.0
E 0-6 0.0-15.2
F 15.5-18 39.4-45.7
G 8-10 20.3-25.4
H 12 30.5
I 18-20 45.7-50.8
EXECUTIVE CHAIR
www.dezyneecole.com
Sanjay Navlani
C
Seat Width
Seat
Reference
Plane
Backrest
Reference
Plane
Seat
Reference
Point
SeatHeight
Backrest
Seat
Seat
Depth
F
H
B
I
A
105
0 - 5
22-01-2019
SIDE VIEW
PLAN VIEW

Inch Cm
A 16-17 40.5-43.2
B 8.5-9 21.6-22.9
C 10-12 25.4-30.5
D 16.5-17.5 41.9-44.5
E 18-24 45.7-61.0
EASY CHAIR
www.dezyneecole.com
Sanjay Navlani
A
Seat
Reference
Plane
Backrest
Reference
Plane
Seat
Reference
Point
SeatHeight
Backrest
Armrest
105
15
22-01-2019
SIDE VIEW

Inch Cm
A 6-9 15.2-22.9
B 10 Adjust. 25.4 Adjust
C 15.5-16 39.4-40.6
D 12 max. 30.5 Max.
E 30 Adjust. 76.2 Adjust.
G 15 38.1
H 12-14 30.5-35.6
DRAFTING CHAIR / STOOL
www.dezyneecole.com
Sanjay Navlani
Seat Width
H
Seat
Reference
Plane
Backrest
Reference
Plane
Adjustable
Seat
Reference
Point
D
SeatDepth
Adjustable
SeatHeight
Backrest
E
H
L
F
95 - 105
Footrest
22-01-2019
SIDE VIEW
PLAN VIEW

Inch Cm
A 18-24 45.7-61.0
B 15.5-16 39.4-40.6
C 16-17 40.6-43.2
BANQUETTE SEATING
www.dezyneecole.com
Sanjay Navlani
Seat
Reference
Plane
Seat
Reference
Point
Backrest
Reference
Plane
SeatHeight
C
105
Wall
Backrest
Seat
Seat
Depth
B
0 - 5
22-01-2019
SECTION

Inch Cm
A 30 76.2
B 24 61.0
BANQUETTE SEATING
www.dezyneecole.com
Sanjay Navlani
AAA
BBBB
22-01-2019
LOW DENSITY
HIGH DENSITY

LIVING SPACES
Anthropometric for

Inch Cm
A 42-48 106.7-121.9
B 6-9 15.2-22.9
C 3-6 7.6-15.2
D 28 71.7
E 62-68 157.5-172.7
F 90-96 228.6-243.8
SOFA SEATING / MALES
Digital Tools Living Spaces Dezyne E’cole College
www.dezyneecole.com
Sanjay Navlani
B
Cushion
Armrest
Cushion
Armrest
Overall Sofa Length/
Seating for Two Men
Overall Sofa Length/ Seating for Three Men
A
A
B
D D C
C
C CDDD
F
E
22-01-2019

SOFA SEATING / FEMALES
www.dezyneecole.com
Sanjay Navlani
Dezyne E’cole CollegeCushion
A
Inch Cm
A 40-46 101.6-116.8
B 6-9 15.2-22.9
C 3-6 7.6-15.2
D 26 66.0
E 58-64 147.3-162.6
F 84-90 213.4-228.6
A
B
B
C C
CC D D
DDD
F
E
Armrest
Cushion
Armrest
Overall Sofa Length/ Seating for Two Women
Overall Sofa Length/ Seating for Three Women
22-01-2019

Inch cm.
A 34-40 86.4-101.6
B 28 71.1
C 42-48 106.7-121.9
D 6-9 15.2-22.9
E 3-6 7.6-15.2
F 32-38 81.3-96.5
I 48-60 121.9-152.4
CORNER LOUNGE SEATING WITH CIRCULATION
Armrest
Cushion
Project Report Drawing Title Date of Submission Submitted to
www.dezyneecole.com
Sanjay Navlani
Submitted by
22-01-2019

Inch Cm
A 34-40 86.4-101.6
B 28 71.1
C 42-48 106.7-121.9
D 6-9 15.2-22.9
E 3 7.6
F 32-38 81.3-96.5
G 26 66.0
H 40-46 101.6-116.8
CORNER LOUNGE SEATING/ MALE AND FEMALE
Armrest
Cushion
F
G
C
D
E
A
B
H
D
www.dezyneecole.com
Sanjay Navlani
22-01-2019

Inch Cm
A 84-112 213.4-284.5
B 13-16 33.0-40.6
C 58-80 147.3-203.2
D 16-18 40.6-45.7
E 14-17 35.6-43.2
F 12-18 30.5-45.7
LOUNGE SEATING / CLEARANCES
www.dezyneecole.com
Sanjay Navlani
Lounge
Chair
E
Coffee
Table Lounge
Chair
Eye Level
F
E
DD Varies
CB B
A
Max. Personal Space Communication Factor
22-01-2019

Inch Cm
A 30-36 76.2-91.4
B 12-16 30.5-40.6
C 16-18 40.6-45.7
LOUNGE SEATING / CLEARANCE RELATIONSHIPS
www.dezyneecole.com
Sanjay Navlani
Sofa or
Lounge
Chair
B Sofa or
Lounge
Chair
Coffee
Table
A
CVaries
Clearance
No Clearance
22-01-2019

Inch Cm
A 60-68 152.4-172.7
B 54-62 137.2-157.5
C 14-17 35.6-43.2
RECLINING CHAIR WITH FOOTREST / MALE AND FEMALE
www.dezyneecole.com
Sanjay Navlani
Back
Support
C
Back
Support
Front
Support
Front
Support
Head
Support
Head
Support
Seat Seat
C
A B
22-01-2019

Inch Cm
A 18-24 45.7-61.0
B 48-58 121.9-147.3
C 36-40 91.4-101.6
D 72 182.9
WALL UNIT / ACCESS BY MALE
www.dezyneecole.com
Sanjay Navlani
Storage
Cabinet
Max.ShellHt.forComfortableReach
Cabinet with Drawers
Cabinet with Doors
Activity
Zone
A
D
B
C
22-01-2019

Inch Cm
A 18-24 45.7-61.0
B 46-52 116.8-132.8
C 30-36 76.2-91.4
D 69 175.3
WALL UNIT / ACCESS BY FEMALE
www.dezyneecole.com
Sanjay Navlani
22-01-2019
Storage
Cabinet
Max.ShellHt.forComfortableReach
Cabinet with Drawers
Cabinet with Doors
Activity
Zone
A
D
B
C

Inch Cm
A 42-50 106.7-127.0
B 12-16 30.5-40.6
C 18 45.7
D 72 182.9
E 24-32 61.0-81.3
F 39-42 99.1-106.7
WALL – MOUNTED BAR UNIT / ACCESS BY MALE
www.dezyneecole.com
Sanjay Navlani
Line of
Cabinet
D
Flip
Flop
Activity ZoneLight
Source
F
B B C
E
A
22-01-2019
30
30

Inch Cm
A 42-50 106.7-127.0
B 12-16 30.5-40.6
C 18 45.7
D 69 175.3
E 24-32 61.0-81.3
F 36-39 91.4-99.1
WALL – MOUNTED BAR UNIT / ACCESS BY FEMALE
www.dezyneecole.com
Sanjay Navlani
30
22-01-2019
Line of
Cabinet
Flip
Flop
Activity ZoneLight
Source
F
B B C
E
A
D
30

Inch Cm
A 16-24 40.6-61.0
B 60-78 152.4-198.1
C 30-42 76.2-106.7
D 36 91.4
DISPLAY OF ARTWORK
www.dezyneecole.com
Sanjay Navlani
Max. Viewing Distance
A
Min. Viewing DistanceEye Level
C.L. of
Beam Axis
Light
Source
Varies
AssumeMinimumHeightof96in(243.8cm)
AndMaximumheightof120in(304.8cm)
B
C
D
30
30
22-01-2019

Inch Cm
A 40-44 101.6-111.8
B 80-88 203.2-223.5
C 18 45.7
D 36 91.4
E 20-24 50.8-61.0
F 51 129.5
G 33 83.8
H 18 45.7
ENTRANCE FOYER / REQUIRED CLEARANCES FOR COAT REMOVAL
www.dezyneecole.com
Sanjay Navlani
Door Swing
Clearance
B
Coat Closet
Public Hall
AA
E
D E
F
G H
22-01-2019

DINING SPACES
Anthropometric for

Inch Cm
A 27 68.6
B 18 45.7
C 9 22.9
D 30 76.2
E 21 53.3
F 16 40.6
G 5 12.7
H 24 61.0
OPTIMUM PLACE SEATING
Digital Tools Dining Spaces 28-01-2019 Dezyne E’Cole College
www.dezyneecole.com
Sanjay Navlani
C.L. Of Table
D H
FG
E
BC
A
C.L. Of Table
OPTIMUM
SHARED ACCESS
ZONE
MINIMUM SHARED
ACCESS ZONE
OPTIMUM
PLACE - SEATING
ZONE
MINIMUM
PLACE - SEATING
ZONE
MIMIMUM PLACE SEATING

Inch Cm
A 27 68.6
B 18 45.7
C 9 22.9
D 30 76.2
E 90 228.6
OPTIMUM PLACE SEATING FOR THREE
C.L. of Table
OPTIMUM SHARED
ACCESS ZONE
OPTIMUM PLACE -
SITTING ZONE
www.dezyneecole.com
Digital Tools Dining Spaces 28-01-2019
Sanjay Navlani

MINIMUM PLACE SEATING FOR THREE
www.dezyneecole.com
Sanjay Navlani
E
MINIMUM SHARED
ACCESS ZONE
MINIMUM
PLACE - SEATING
ZONE
C.L. Of Table
D D D
A
BC
Inch Cm
A 21 53.3
B 16 40.6
C 5 12.7
D 24 61.0
E 72 182.9

Inch Cm
A 54 137.2
B 12 30.5
C 30 76.2
D 48 121.9
E 18 45.7
www.dezyneecole.com
Sanjay Navlani
OPTIMUM TABLE WIDTH
A
OPTIMUM
SHARED
ACCESS
ZONE
B C B
E E E
D
CE
OPTIMUM PLACE
- SEATING ZONE

Inch Cm
A 42 106.7
B 9 22.9
C 24 61.0
D 40 101.6
E 16 40.6
F 10 25.4
www.dezyneecole.com
Sanjay Navlani
MINIMUM TABLE WIDTH
A
MINIMUM
SHARED
ACCESSZONE
B C B
E F E
D
CE
MINIMUM
PLACE - SEATING
ZONE

Inch Cm
A 54 137.2
B 12 30.5
C 30 76.2
D 48 121.9
E 18 45.7
F 42 106.7
G 9 22.9
H 24 61.0
I 40 101.6
J 16 40.6
K 10 25.4
L 116-128 294.6-325.1
M 18-24 45.7-61.0
N 80 203.2
O 78-90 198.1228.6
RECTANGULAR TABLE / MINIMUM LENGTH & WIDTH/ DINING FOR SIX
MINIMUM SHARED
ACCESS ZONE
MINIMUM
PLACE SITING
ZONE
MINIMUMTABLELENGTH
HH JJ
M MN
L
F
MMGGH
O
www.dezyneecole.com
Sanjay Navlani

Optimum Table Width
H
D
G GG
C BB C
A
DDGG
BBF
E
OptimumTableLength
OPTIMUM
SHAREDACCESS
ZONE
OPTIMUM PLACE
- SEATING ZONE
Inch Cm
A 96 – 102 243.8 – 259.1
B 18 – 24 4.7 – 61.0
C 12 30.5
D 30 76.2
E 132 – 144 335.3 – 365.8
F 96 243.8
G 18 45.7
H 54 137.2
RECTANGULAR TABLE / OPTIMUM LENGTH & WIDTH/ DINING FOR SIX
www.dezyneecole.com
Sanjay Navlani

Inch Cm
A 36 - 42 91.4 – 106.7
B 18 – 24 45.7 – 61.0
C 18 45.7
D 30 76.2
E 48 min. 121.9 min.
BREAKFAST / KITCHEN TABLE FOR FOUR
Minimum Width Of
Breakfast Table
A
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Sanjay Navlani
A E
Minimum
Clearance
Minimum
Clearance
Circulation
Zone
Minimum
Clearance
PLACE –
SEATING
ZONE
SHARED ACCESS
ZONE
Line Of Wall
Or Obstruction
BC
D

Inch Cm
A 30 min. 76.2 min.
B 6 15.2
C 24 61.0
D 18 – 24 45.7 – 61.0
E 12 30.5
F 48 – 54 121.9 – 137.2
G 36 91.4
H 30 – 36 76.2 – 31.4
I 114 – 126 289.6 – 320.0
36 – IN (91.4 - CM) DIAMETER BREAKFAST / KITCHEN TABLE FOR FOUR
Total Diameter
E
Seating
Zone
PLACE – SEATING
ZONE
SHARED ACCESS
ZONE
D
C
F
A
I
B B
H
Circulation
Zone
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Sanjay Navlani

Inch Cm
A 84 - 96 213.4 – 243.8
B 48 121.9
C 24 61.0
D 18 – 24 45.7 – 61.0
E 12 30.5
F 48 – 54 121.9 – 137.2
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Sanjay Navlani
48 – IN (121.9 – CM) DIAMETER CIRCULAR TABLE FOR FOUR / MINIMUM SCHEME
D
Total Diameter
Seating
Zone
PLACE –
SEATING
ZONE
SHARED
ACCESS
ZONE
D B
A
C
E
F

Inch Cm
A 96 – 108 243.2 – 274.3
B 18 – 24 45.7 – 61.0
C 60 152.4
D 30 76.2
E 12 30.5
F 30 - 36 76.2 – 91.4
Submitted by
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Sanjay Navlani
60 – IN (152.4 – CM) DIAMETER CIRCULAR TABLE FOR FOUR / OPTIMUM SEATING
Project Report Drawing Title Date of Submission Submitted to
B
Total Diameter
Seating
Zone
PLACE –
SEATING
ZONE
SHARED
ACCESS
ZONE
B C
A
D
E
F
Seating
Zone

Inch Cm
A 72 182.9
B 18 – 24 45.7 – 61.0
C 132 – 144 335.3 – 365.8
D 30 76.2
E 12 30.5
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Sanjay Navlani
72 – IN (182.9– CM) DIAMETER CIRCULAR TABLE FOR SIX/ OPTIMUM SCHEME
Total Diameter
PLACE –
SEATING
ZONE
SHARED ACCESS
ZONE
D
C
D
EB
Seating
Zone
A

Inch Cm
A 132 – 144 335.3 – 365.8
B 30 – 36 76.2 – 91.4
C 72 182.9
D 18 – 24 45.7 – 61.0
E 12 30.5
F 24 61.0
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Sanjay Navlani
72 – IN (182.9– CM) DIAMETER CIRCULAR TABLE FOR EIGHT/ MINIMUM SCHEME
B
Total Diameter
PLACE – SEATING
ZONE
SHARED ACCESS
ZONE
B C
A
E D
Seating
Zone

Inch Cm
A 90 - 96 228.6 – 243.8
B 30 – 36 30 – 36
C 86 – 102 218.4 – 259.1
D 18 - 24 45.7 – 61.0
E 54 137.2
F 50 - 60 127.0 – 152.4
G 50 – 54 127.0 – 137.2
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Sanjay Navlani
CLEARANCE REQUIREMENTS BETWEEN DINING TABLE AND BUFFET
Seating
Zone
A
E C
G
D B
F D
Circulation
Zone
Chair – to – Buffet
Clearance
Standing
Activity
Zone
Buffet
Dining
Table
Min. Clearance
Overall table – to – Wall Dimension

Inch Cm
A 30 – 36 76.2 – 91.4
B 18 – 24 45.7 – 61.0
C 16 – 17 40.6 – 43.2
D 7.5 Min. 19.1 Min.
E 29 – 30 73.7 – 76.2
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Sanjay Navlani
MINIMUM CHAIR CLEARANCE / NO CIRCULATION
Seating
Zone
A
B
C
D
E
Eye Level
Line of Wall Or
Obstruction
Minimum Clearance

Inch Cm
A 30 – 36 76.2 – 91.4
B 18 – 24 45.7 – 61.0
C 16 – 17 40.6 – 43.2
D 7.5 Min. 19.1 Min.
E 29 – 30 73.7 – 76.2
F 48 - 60 121.9 – 152.4
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Sanjay Navlani
MINIMUM CLEARANCE BEHIND CHAIR IN PLACE
Seating
Zone
F
B
CD
E
Circulation
Zone
Eye Level
A
Line of Wall Or
Obstruction

Inch Cm
A 132 – 162 335.3 – 411.5
B 66 – 81 167.2 – 205.7
C 30 – 36 76.2 – 91.4
D 18 – 24 45.7 – 61.0
E 36 – 42 91.4 – 106.7
F 29 – 30 73.7 – 76.2
G 27 68.6
H 19 48.3
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Sanjay Navlani
MINIMUM DINING AREA WIDTH
Seating
Zone
A
B
F
Circulation
Zone
Eye Level
C
Line of Wall Or
Obstruction
G
H
B
D
Seating
Zone
Circulation
Zone
E D C
Hanging
Fixture

Inch Cm
A 60 - 72 152.4 – 182.9
B 54 – 60 137.2 – 152.4
C 30 – 36 76.2 – 91.4
D 18 45.7
E 36 – 42 91.4 - 106.7
F 29 - 36 73.7 – 91.4
G 29 – 30 73.7 – 76.2
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Sanjay Navlani
MINIMUM CLEARANCE BEHIND EXTENDED CHAIR
Chair in Extended
Position
B
G
Circulation
Zone
CLine of
Wall
Or
Obstr-
uction
F
BC
Service
Zone
E D
Overall Clearance from Edge of Table
Shelf

Inch Cm
A 12 – 18 30.5 – 45.7
B 90 – 96 228.6 – 243.8
C 60 152.4
D 30 – 36 76.2 – 91.4
E 30 76.2
F 30 - 36 76.2 – 91.4
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Sanjay Navlani
MINIMUM CLEARANCE FOR TWO BEHIND EXTENDED CHAIR
B
E
Circulation Zone / Two People
C
Line of
Wall
Or
Obstr-
uction
E
Chair in Extended
Position
D
A
E
F
Shelf

Inch Cm
A 36 91.4
B 18 45.7
C 7.5 Min. 19.1 Min.
D 30 – 36 76.2 – 91.4
E 16 - 17 40.6 – 43.2
F 29 – 30 73.7 – 76.2
G 101.5 – 110 257.8 – 279.4
H 48 – 54 121.9 – 137.2
I 17.5 - 20 44.5 – 50.8
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Sanjay Navlani
Line of Wall Or Obstruction
BANQUETTE SEATING / SERVICE AND PASSSAGE CLEARANCE REQUIREMENTS
Seating
Zone
G
H
DBAI
Table Depth Service
Zone
Circulation Zone
F
EC
Banquette

SLEEPING SPACES
Anthropometric for

Inch Cm
A 2.5 6.4
B 7.5 19.1
C 84 213.4
D 78 198.1
E 6 15.2
F 7-8 17.8-20.3
G 44-46 111.8-116.8
H 36 91.4
I 39 99.1
J 48 121.9
K 60 152.4
SINGLE AND DOUBLE BEDS
B
A
C
D
EE
FFG
H
I
J
K
Standard Lengths
SingleBedDoublebed
Standard Lengths
StandardWidths
StandardWidths
Digital Tools Sleeping Spaces 06-02-2019 Dezyne E’Cole College
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Sanjay Navlani

Inch Cm
A 70 177.8
B 60 152.4
C 16 40.6
D 22 55.9
E 30 76.2
F 36 91.4
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Digital Tools Sleeping Spaces 06-02-2019
Sanjay Navlani
BEDROOM / VISION AND SIGHT LINES
A
Dimension Varies with Furniture Plan
Eye Level Standing Position
Eye Level Seated Position
Eye Level Reclining Position
Window
Sill
Single Bed
Top of
Mattress
Varies
VaryingSillheights
B
C
D
E
F

Inch Cm
A 108 – 114 274.3 – 289.6
B 36 – 39 91.4 – 99.1
C 36 91.4
D 18 – 22 45.7 – 55.9
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Sanjay Navlani
TWIN BED / CLEARANCES AND DIMENSIONS
A
Circulation Zone
C BB
D
Single Bed
Top of
Mattress Pillow
Varies
Varies

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Sanjay Navlani
SINGLE BED / CLEARANCES AND DIMENSIONS
Inch Cm
A 46 - 62 116.8 – 157.5
B 36 – 39 91.4 – 99.1
C 82 - 131 208.3 – 332.7
D 18 – 22 76.2
A
Work / Activity
Zone
Circulation Zone
Single Bed
Drawer
End
Table
Line of wall Or
Obstruction
B
CD

A
BC
Varies
Work/Activity
Zone
Kneeling
Position For
Making Low
Bed
Top Of
Mattress
Single Bed
Line Of Wall Or
Obstruction
Inch cm.
A 16 40.6
B 36-39 91.4-99.1
C 37-39 94.0-99.1
SINGLE BED / CLEARANCE AND DIMENSIONS
Digital Tools Living Spaces 27-11-2018 Dezyne E’cole College
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Sanjay Navlani

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Sanjay Navlani
SINGLE BED / CLEARANCES AND DIMENSIONS
Inch Cm
A 24 61.0
B 36-39 91.4-99.1
C 26 – 30 66.0 – 76.2
A
C
Varies
Work/Activity
Zone
Bending
Position For
Making High
Bed
Top Of
Mattress
Single Bed
Line Of Wall Or
Obstruction
B
Single Bed

Inch Cm
A 48 - 54 121.9 – 137.2
B 36 – 39 91.4 – 99.1
C 6 – 8 15.2 – 20.3
D 12 – 16 30.5 – 40.6
E 18 – 24 45.7 – 61.0
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Sanjay Navlani
CLEANING REQUIREMENTS
A
Work Zone
B
CD
E
End
Table
Single Bed
Headboard

Inch Cm
A 24 – 28 61.0 - 71.1
B 12 – 16 30.5 – 40.6
C 30 76.2
D 16 -24 40.6 – 61.0
E 42 -46 106.7 – 116.8
F 28 – 40 71.1 – 101.6
G 7 Min. 17.8 Min.
H 28 – 30 71.1 – 76.2
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Sanjay Navlani
MAKE-UP / DRESSING TABLE
F
Table
Mirror
And
Lights
Activity
Zone
Circulation
zone
Line Of
Nearest
Obstruction
Pillow
Bed
D B
E
D
A
B C
G
H

Inch Cm
A 42 – 54 106.7 – 137.2
B 18 – 24 45.7 – 61.0
C 24 – 30 61.0 – 76.2
D 28 - 30 71.1 – 76.2
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Sanjay Navlani
DESK OR DRESSING TABLE
A
Activity
Zone
Tack Surface
or Mirror
Eye
Level
Top of
Table
CB
D

Inch Cm
A 62 – 72 157.5 – 182.9
B 20 – 24 50.8 – 61.0
C 42 – 48 106.7 – 121.9
D 16 – 20 40.6 – 50.8
E 18 45.7
F 42 106.7
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Sanjay Navlani
DRESSER / BED CLEARANCES
A
Mirror
B C
D E
F
Eye Level
Activity
Line of Bed
Or other
obstruction
Top of
Mattress
Bed
Drawer
Drawer

Inch Cm
A 104 264.2
B 18 – 22 45.7 – 55.9
C 40 – 44 101.6 – 111.8
D 6 – 8 15.2 – 20.3
E 8 – 10 20.3 – 25.4
F 10 – 12 25.4 – 30.5
G 2 5.1
H 28 – 38 71.1 – 96.5
I 6 – 12 15.2 – 30.5
J 64 – 74 162.6 – 188.0
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Sanjay Navlani
ADULT BUNK BEDS / FRONT ELEVATION
J
Upper
Sleeping
Area
Lower
Sleeping
Area
Storage Under Bed
Lower Bunk bed
Upper Bunk bed
Line of Conventional 96 in
(243.8 cm) Ceiling Ht.
Varies
RequiredMinimumCeilingHeight
Top Of
Mattress
A
BC
G
F
G
CD
HI
E
Top Of
Mattress

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Sanjay Navlani
ADULT BUNK BEDS / END ELEVATION
Inch Cm
A 104 264.2
B 18 – 22 45.7 – 55.9
C 40 – 44 101.6 – 111.8
D 6 – 8 15.2 – 20.3
E 46 - 62 116.2 – 157.5
F 16 – 74 162.6 – 188.0
G 2 5.1
E
Upper
Sleeping
Area
Lower
Sleeping
Area
DrawerStorage Under Bed
Lower Bunk bed
Upper Bunk
bed
Line of Conventional
96 in (243.8 cm)
Ceiling Ht.
Varies
RecommendedMinimumCeilingHeight
Top Of
Mattress
A
FC
G
B
D
G

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Sanjay Navlani
CHILDRENS’ BUNK BEDS / ENDELEVATION
Inch Cm
A 96 243.8
B 54.5 – 62 138.4 – 157.5
C 36.5 – 39 92.7 – 99.1
D 12 – 15 30.5 – 38.1
E 36.5 – 39 92.7 – 99.1
F 6 – 8 15.2 – 20.3
G 14 – 18 35.6 – 45.7
H 30 – 39 76.2 – 99.1
I 37 – 39 94.0 – 99.1
J 34 – 36 86.4 – 91.4
I
Lower Bunk bed
Upper Bunk Bed
Line of Wall Or
Obstruction
G
TypicalCeilingHeight
A
BC
DEF Work / Activity
Zone
J K
H

Inch Cm
A 130 – 136 330.0 – 345.4
B 84 213.4
C 46 – 52 116.8 – 132.1
D 17 43.2
E 11 27.9
F 5 – 14 12.7 – 35.6
G 6 – 8 15.2 – 20.3
H 2 5.1
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Sanjay Navlani
SLEEPING LOFTS / END ELEVATION
E
Circulation
Under Loft
Loft
Construction
RequiredOverallMin.ht.
AssumedClearanceBasedUponCodes
GF
D
A
BC
H

Inch Cm
A 64 – 68 162.2 – 172.7
B 72 – 76 182.9 – 193.0
C 12 – 18 30.5 – 45.7
D 8 – 10 20.3 – 25.4
E 20 – 28 50.8 – 71.1
F 34 – 36 86.4 – 91.4
G 10 – 12 25.4 – 30.5
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Sanjay Navlani
CLOSET AND STORAGE FACILITIES / MALE
E
High Shelf
C D
F
D
G
A
B
Shoe Shelf
Max.shelfHt.forComfortablereach

Inch Cm
A 60 - 70 152.4 – 177.8
B 69 – 72 175.3 – 182.9
C 12 – 18 30.5 – 45.7
D 8 – 10 20.3 – 25.4
E 20 – 28 50.8 – 71.1
F 34 – 36 86.4 – 91.4
G 10 – 12 25.4 – 30.5
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Sanjay Navlani
CLOSET AND STORAGE FACILITIES / FEMALE
E
High Shelf
C D
F
D
G
A
Shoe Shelf
Max.shelfHt.forComfortablereach
B
(AlsoDeterminedbySpecialGarmentLength)

C
Male
Minimum
DoorOpening
H
Hanging
storage
I
AA
E
D
G
EEFFC
Hanging storage
Female
Male
Female
Shelf Storage
Minimum
DoorOpening
C
B
Varies
WALK-IN CLOSET STORAGE FACILITIES
Inch Cm
A 30 76.2
B 18 45.7
C 12 – 18 30.5 – 45.7
D 76 193.0
E 20 – 28 50.8 – 71.1
F 34 – 36 86.4 – 91.4
G 68 172.7
H 42 106.7
I 46 116.8
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Sanjay Navlani

07
Interior Material & Methods - I
While deciding the look & feel of an Interior House that
How is it goanna look and feel like after the up gradation,
the most important thing which comes into the play is
Styling. The whole House needs to be designed in one such
Style of Interior, it can be Contemporary or Classic. But it
cannot belike the different rooms are designed or styled in
different styles of Interior.
The Style of Interior decides almost everything that re
goanna be applied in the look & feel of the stuffs going to be
used in Interior of that space. From Furniture, Furnishings,
Rugs , Carpets, to the Fabrics that are goanna used, to the
materials, Almost each and everything comes automatically
decided whenever we choose any Styling in Interior.

Sanjay Navlani, B.Voc Interior Design 1st Year ( Residential Design Assignments Portfolio)

Sanjay Navlani, B.Voc Interior Design 1st Year ( Residential Design Assignments Portfolio)

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