The document outlines the principles of interior design, emphasizing the use of elements to create harmony and balance within compositions. Key principles discussed include balance (symmetrical, asymmetrical, and radial), unity, space, emphasis, and rhythm, providing a framework for effective design. It also touches on structural terminology related to architecture, including components such as foundations, beams, and columns, highlighting their functional roles in construction.

1. FOUNDATION TO DESIGN I
PYM I BANGALORE
PRINCIPLES OF
INTERIOR DESIGN FUNDAMENTA
LS OF
INTERIOR
DESIGN

2. PRINCIPLES OF INTERIOR DESIGN
• The Principles of interior Design are the ways that designers use the Elements of
interior design to create good Compositions (decoration/arrangements).
• Design principles are ways of arranging or organizing design elements. These
principles evaluate each element in a design (magnificent vs. mediocre right vs.
wrong).
• The way the elements are arranged to create a feeling of stability in a work.
• Interior design is achieved through the application of the elements of
design.
• It also help us to achieve our objectives of Interior Design.
• Principles Of Interior Design are:
1.BALANCE 2.SPACE 3.UNITY 4.RYTHM 5.EMPHASIS
SYMMETRICAL
(FORMAL)
ASYMMETRICAL
(INFORMAL)
RADIAL
REPETITION
ALINGMENT
SIMILARITY
PROXIMITY
CONTINUATION
ALTERNATION
PROGRESSION

3. PRINCIPLES OF INTERIOR DESIGN
BALANCE
• Balance in interior design refers to the proper distribution of
objects in a room to create visual balance.
• Balance refers to the distribution of visual weight within a
composition.
• Lack of balance disturbs the harmony of a composition.
• Balance is created when there is an equilibrium of elements
that need each other and together they create Unity.
BALANCE TYPES :
There’s three different kinds of balance:
• SYMMETRICAL (FORMAL),
• ASYMMETRICAL (INFORMAL)
• RADIAL
SYMMETRICAL (FORMAL) BALANCE:
• The easiest way to achieve balance is by using the
symmetrical or formal form, objects are repeated or mirrored
along a central axis.
• It’s when the space is evenly split into two sides that mirror
each other.
• Symmetry is created by dividing a space and the elements
within it equally.
• Symmetry can create order, formality, calmness and stillness.
• Symmetry Makes Design Simple.
1.SYMMETRICAL
2.ASYMETRICAL
3.RADIAL

4. PRINCIPLES OF INTERIOR DESIGN
BALANCE
1.SYMMETRICAL
2.ASYMETRICAL
3.RADIAL
SYMMETRICAL CUSTOM C
ABINETRY ALLOWS THE T
UFTED HEAD OF
the bed to act as the focal
point in this bedroom,
since it serves as the
cabinetry's center axis.
Objects repeated on the
shelving bring an
additional calmness.
ALTHOUGH IT'S PRIMARILY A
PRACTICAL SPACE
a bathroom works its best
when it's beautiful as well as
functional. In this symmetrical
layout, custom his-and-her
vanities on either side of the
central bathtub divide the
space. The dark wood pops
beautifully against the neutral
bathtub and tiles.

5. PRINCIPLES OF INTERIOR DESIGN
BALANCE
1.SYMMETRICAL
2.ASYMMETRICAL
3.RADIAL
• Design is typically created with an odd number of disparate elements.
• Lines, colors, forms and textures are balanced in a space without
duplication.
• The two sides of a work of art are not exactly the same, but are still visually
balanced.
• Asymmetry can look informal, natural and energetic.
• A design effect in which elements on either side of an imaginary central line
are unmatched but appear to be in balance.
• Asymmetrical balance makes for a more relaxed and lively interior space.
• This balance scheme uses a central line but relies more on the eye's sense of
balance to complete the design.
ASYMMETRICAL (INFORMAL) BALANCE:

6. PRINCIPLES OF INTERIOR DESIGN
BALANCE
1.SYMMETRICAL
2.ASYMMETRICAL
3.RADIAL
YOU WOULDN’T GUESS THA
T
the above photo of
Microsoft’s new office,
designed is balanced, but it
is. This is because it’s
balanced in an asymmetrical
way using variety in the
visual weight of objects.
Asymmetrical elements can be
as big as statement
furniture or as small as
table decorations

7. PRINCIPLES OF INTERIOR DESIGN
BALANCE
1.SYMMETRICAL
2.ASYMMETRICAL
3.RADIAL
RADIAL
BALANCE:
• There is a central focal point with other elements radiating from
it or around it, this is radial balance.
• Radial balance is almost circular – distributed arrangement of
items around a central point either extending outward or
inward.
• You see radial balance less often in traditional homes; round
rooms are difficult to link to other spaces. But the result can be
stunning.
• The central elements of a radially balanced room — like the
dining table and light fixture in this dining space — become
the immediate focal points.
• The chairs, sculpture and print all radiate out from this
central point.
• The circular furniture placement radiates from the central
round coffee table and makes the arrangement look comfy and
relaxed.

8. PRINCIPLES OF INTERIOR DESIGN
BALANCE
1.SYMMETRICAL
2.ASYMMETRICAL
3.RADIAL
We can use radial
symmetry in the
landscape not only to
create a focal point, but
also as a practical
approach to design. This
swimming pool is offset
into a circular retaining
wall; the circular
stepping stones show
people the way to the
pool and add balance and
stability.
This circular staircase creates a
feeling of grandeur and focus.
A radially balanced room — like the dining
table and light fixture in this dining space —
become the immediate focal points. The
chairs, sculpture and print all radiate out
from this central point.

9. PRINCIPLES OF INTERIOR
DESIGN
• Unity is achieved when all of the different elements in a
design work together to create a unified whole.
• Designers use unity to make elements in a composition appear
to belong together.
• When each elements has a clear visual relationship to one or
more other elements, the composition is unified.
• Unity is what draws the whole design together.
• Simply but, every single item in your home should contribute to
the overall interior design concept, not draw away from it.
• All Parts of a work of art are interrelated, balanced, and
organized to achieve a quality of oneness .
• A unified design is greater than the sum of its parts; the
design is seen as a whole first, before the individual elements
are noticed .
• Unity can be compared to harmony, integrity or wholeness.
When unity is achieved:
• a composition does not become cluttered or confusing.
• a concept can be communicated more clearly.
UNITY :

10. PRINCIPLES OF INTERIOR
DESIGN
UNI
TY
SOME OF THE WAYS TO
ACHIEVE UNITY
INCLUDE:
1.ALIGNMENT
2.SIMILARITY
3.PROXIMITY
4.REPETITION
5.CONTINUATION
6.OVERLAPPING
ALIGNMENT :
• Alignment consists of arranging elements so that their edges are line
• The common alignment allows the eye to group those elements toge
SIMILARITY:
• Similarity repeating textures Values, textures, or lines creates a
visual relationship between elements, called correspondence.

11. PRINCIPLES OF INTERIOR
DESIGN
UNI
TY
REPETITION:
• Repetition is based on grouping by similarity; elements that are similar visually are
perceived to be related.
• Any element can be repeated - line, shape, color, value or texture - as well other
things such as direction, angle or size.
• Repetition helps unify a design by creating similar elements and is one of the most
effective ways to unify a design.
PROXIMITY :
• Based on grouping by closeness; the closer elements are to each other, the
more likely we will see them as a group.
• Proximity is one of the easiest ways to achieve unity.
SOME OF THE WAYS TO
ACHIEVE UNITY
INCLUDE:
1.ALIGNMENT
2.SIMILARITY
3.PROXIMITY
4.REPETITION
5.CONTINUATION
6.OVERLAPPING

12. PRINCIPLES OF INTERIOR
DESIGN
UNI
TY
OVERLAPPING:
• Design elements can
contribute to unity by
creating a relationship
between separate
elements.
CONTINUATION:
• It means that something (a line, an edge, a curve, a direction)
continues from one element to another.
• The viewer’s eye will follow the continuing line or edge smoothly
from one element to other and the mind will group the elements
because of this connection.
• Implied lines are one example of continuation
SOME OF THE WAYS TO
ACHIEVE UNITY
INCLUDE:
1.ALIGNMENT
2.SIMILARITY
3.PROXIMITY
4.REPETITION
5.CONTINUATION
6.OVERLAPPING

13. PRINCIPLES OF INTERIOR DESIGN
SPACE
SPACE:
• Space is the area in and around something.
• Designing involves arranging design elements in space.
• The distance or area between, around, above, below, or within things.
Three-dimensional designs have:
• form
• length
• width
• height
• Space can be split into two categories: positive and negative space.
• Positive space is space containing objects, whilst negative space is the
open/empty space.
• It is also crucial to consider the scale and size of the furniture and objects
placed in a room, as this can be used to make the space appear larger or
smaller.
• Example - A tall object such as a book case can give the illusion of
height.

14. PRINCIPLES OF INTERIOR DESIGN
EMPHASIS
EMPHASIS / FOCUS :
•Accent, stress, or importance placed on a part of a piece of artwork.
• Focus is used to center attention.
• Focus can be created by contrasting elements so that they attract attention.
•It simply means that every room or space has a focal point, whether it is architectural
or an object.
Interior design elements like color, texture and form are used to add emphasis to a
focal point.
• If you refaced your fireplace with bronze glass tiles, you have used color and texture
to create emphasis. The fireplace and mirror collection exemplifies emphasis in a room.
•A fireplace is the most common
architectural focal point. Oversized
artwork or a large piece of furniture
can also be a focal point in a room.

15. PRINCIPLES OF INTERIOR DESIGN
EMPHASIS
Movie posters creating
focus of interest
The single element of
emphasis in this
bathroom is the sink
structure.
The sink draws your eye to
it because of the bold gold
and brown color, the
shape and size of the
element in the room.
The sofas frame the painting
as the focal point of this room,
with a white wall-to-ceiling
construct juxtaposed against
the wall and ceiling for further
contrast.
The ceiling in this kitchen is
amazing, its the first thing my
eyes went to when I saw the
image. The placement, color,
shape, and size of the lighting
makes this kitchen different and

16. PRINCIPLES OF INTERIOR DESIGN
RHYTHM
SOME OF THE WAYS TO
ACHIEVE RHYTHM
INCLUDE:
1.REPETITION
2.ALTERNATION
3.PROGRESSION
RHYTHM:
Rhythm accomplished through the following means:
•1. Repetition
•2. Alternation
•3. Progression
REPETITION :
• The repeated use of certain objects or physical attributes of
decor elements.
• Repetition is the simplest way to attain rhythm and can be
achieved by repeating any of the elements of design (line, color,
texture and pattern, light, and scale and proportion) or other
design concepts in an organized and regular way.

17. PRINCIPLES OF INTERIOR DESIGN
RHYTHM
SOME OF THE WAYS TO
ACHIEVE RHYTHM
INCLUDE:
1.REPETITION
2.ALTERNATION
3.PROGRESSION
HE REPEATING WOOD slats
on the wall of this pizza
shop creates a playful
rhythm and draws your eye
through the space.
REPETITION IS THE SIMPLEST way to attain rhythm
and can be achieved by repeating any of the
elements of design (line, color, texture and pattern,
light, and scale and proportion)

18. PRINCIPLES OF INTERIOR DESIGN
RHYTHM
SOME OF THE WAYS TO
ACHIEVE RHYTHM
INCLUDE:
1.REPETITION
2.ALTERNATION
3.PROGRESSION
ALTERNATION :
• Used to create rhythm by alternating two or more elements in
a regular pattern.
• The pattern may be ABCABC or ABBABB, but always repeating in
the same order
This restaurant displays both repetitive rhyt
hm,
in the booths and chairs, as well as
alternation which can be seen in the pendant
lights that hang in groupings with an
ABAAAABA rhythm.
• A modular sofa with alternating colors
of white and green, placing a small
roundtable between two armchairs, or
even differently-shaped wall recesses can
achieve this effect, as seen below.

19. PRINCIPLES OF INTERIOR DESIGN
RHYTHM
SOME OF THE WAYS TO
ACHIEVE RHYTHM
INCLUDE:
1.REPETITION
2.ALTERNATION
3.PROGRESSION
PROGRESSION:
•Elements placed according to size from smaller to bigger ones,
or perhaps according to the gradient of their colors.
•Rhythm can also be achieved through progression.
Examples : are a gradation of color
or a series of objects that start
small and become large in a very
regular manner.
The Banjaras Airport is an excellent
example of rhythm achieved
through repetition and progression
of color.

20. THANK YO
FOUNDATION TO DESIGN I
PYM I BANGALORE
PRINCIPLES OF
INTERIOR DESIGN

21. UNIT – 3
FUNDAMENTALS
OF INTERIOR
DESIGN
FOUNDATION TO DESIGN
PYM I BANGALORE
STRUCTURAL MEMBERS -
TERMINOLOGIES

22. STRUCTURAL MEMBERS-TERMINOLOGIES
CONTENTS
1. FOUNDATION
2. BEAM AND SLABS
3. COLUMNS
4. SILL
5. LINTEL
6. PLINTH
7. LOAD BEARING STRUCTURES
8. NON LOAD BEARING STRUCTURES
9. ARCH
10. FACADE
11. VAULT

23. STRUCTURAL MEMBERS-TERMINOLOGIES
FOUNDATION/FOOTING :
The enlarged base of a
foundation that spreads the
load over a larger area and
transmits it to the soil below.
Footings provide stability and
prevent settling.

24. STRUCTURAL MEMBERS-TERMINOLOGIES
TYPES OF FOUNDATION/FOOTING :

25. STRUCTURAL MEMBERS-TERMINOLOGIES
A horizontal structural member that
is subjected to bending forces.
Beams are used to support floors,
ceilings, and roofs.
BEAM:
Horizontal structural elements
that transmit load to beams and
columns.
Slabs can be load bearing or non-
load bearing.
SLAB:

26. STRUCTURAL MEMBERS-TERMINOLOGIES
COLUMN:
A vertical structural
member that transmits
load from above into the
ground below.
Columns provide
compressive strength and
stiffness to a building.

27. STRUCTURAL MEMBERS-TERMINOLOGIES
SILL:
SILL-A horizontal structural element
at the bottom of a window or door
opening. Serves as a ledge to
support the vertical window or
door frame. Transfers loads from
the opening to the walls.
SILL LEVEL-The height or elevation
of the sill above the floor or
ground. Defines the bottom edge of
the window or door opening.

28. STRUCTURAL MEMBERS-TERMINOLOGIES
LINTEL LEVEL:
LINTEL-A horizontal structural member
placed over openings like windows and
doors to carry loads from above.
Transfers weight to walls.
LINTEL LEVEL-The height or elevation at
which the lintel is positioned above an
opening. Defines the top edge.

29. STRUCTURAL MEMBERS-TERMINOLOGIES
PLINTH:
The base or platform upon which a
column, pedestal, wall or structure
rests. Distributes loads over a larger
area.

30. STRUCTURAL MEMBERS-TERMINOLOGIES
LOAD BEARING STRUCTURES:
Structural members like walls, columns,
beams that transfer loads from above down
to the foundation.
Structural elements like partitions that do
not carry significant vertical loads.
NON-LOAD BEARING STRUCTURES:

31. STRUCTURAL MEMBERS-TERMINOLOGIES
LIVE LOADS AND DEAD LOADS :
DEAD LOADS
Weight of all permanent structural and
non-structural components
Include weight of walls, floors, roofs,
partitions, cladding.
LIVE LOADS
Temporary weights from building
occupancy and use.

32. STRUCTURAL MEMBERS-TERMINOLOGIES
ARCH :
A curved structural member that is
loaded in compression and provides
spanning capability.
Arches transfer loads outward along
the curve to the supports.
An arched structure forming a ceiling
or roof.
Vaults are composed of short arch
segments that assemble into
interesting curved forms.
VAULT :

33. STRUCTURAL MEMBERS-TERMINOLOGIES
FACADE:
The exterior face of a building,
including materials, openings, and
architectural details. The facade helps
define the visual aesthetic.

34. UNIT – 3
THANK YOU
FOUNDATION TO DESIGN
PYM I BANGALORE
STRUCTURAL MEMBERS -
TERMINOLOGIES