Commercial Design Diploma Programme Portfolio where the student has devised designs based on the concept of Geometry .
The space planning areas by the student are restaurant design ,retail design and office design.
Commercial design of Dezyne E'cole College is as per the NSDC QP aligned course as per the Industry Specification
2. Project report on
Commercial Design
At
Dezyne E’cole College, Ajmer
Submitted to
Dezyne E’cole College towards
The partial fulfillment of the
Bachelor of science in Interior Designing
BY
Garima Sharma
Dezyne E’cole College
106/10, civil lines, Ajmer
Tel – 0145 – 2624679
www.dezyneecole.com
2015 - 16
3. ACKNOWLEDGEMENT
The project “ commercial Design” has enlightened me about various aspects of planning and
designing a commercial space.
The success and final outcome of this project required a lot of guidance and assistance from
many people and we extremely fortunate to have got this all along the completion of our project
work.
I give my sincere thanks to ‘Dezyne E’cole College and to my mentors who gave me opportunity
to know various aspects of commercial design and helped me in preparing my project
I thank Mrs. Vinita Mathur for guiding me on various design parameters with due regard
Garima Sharma
B.Sc.. Interior Design
4. Dezyne Ecole College
106/10 Civil Lines
Ajmer- 305001;
Rajasthan
This project of Ms. Garima Sharma student of Bachelor of Science in Interior Design of one year
diploma in commercial design has been checked and has been graded as
________________________________________________
Thanking you
Principal
[seal signature]
GRADE SHEET
5. SYNOPSIS OF PROJECT
Interior design has two major parts Residential design and commercial design. In
the 1st year of my diploma program I learnt about residential design and in 2nd
year I studied about commercial design.
Commercial design is related with designing the space like hospitality design, retail
design, office design etc.
Commercial design is the design of any facility that serve a business purpose.
During the tenure 2nd year commercial design I learnt about various aspects of
commercial design like office design, restaurant design and retail design.
Commercial design includes everything from small retail spaces to malls, small
saloons to higher end boutiques, healthcare clubs to gyms, roadside dhabas to the
higher end a-la-carte restaurants.
Commercial design space should be LEED certified, sustainable, licensed and
universally applicable for everyone.
For designing any space it is important to have a DESIGN CONCEPT . Design
concept has two major parts verbal and visual. Verbal includes space planning,
requirements etc where as visual design includes what a person seeing visually.
Visual design can be created with the help of elements and principles of design.
During the study of retail design I learnt that retail design is divided into three
parts such as exterior presentation , window display and interior presentation of
the store. The exterior presentation includes store sign, marquee, banners,
awning, landscaping , walks and entries.. The store sign should be visible and easy
to read . Marquee is a sign used at the entrance of the store which help customers
to locate the business. Banners are another form of advertising or the way to
display the sale or discount in the store.. Awnings help to protect the customers as
well as the store exterior from direct sunlight and other aspects. Landscaping
provides a pleasing appearance to the building
Window displays play a very important role as it is through which the customers
gets attracted. People love to do window shopping. A person connects his lifestyle
with the products he/she sees in the window display. A product is only sold when it
is seen by the clientele and attracts him/her to that extent that he/she decides to
buy. The Window Display either depicts some story, concept or theme that attracts
the clientele and increases the footfall for the store.
Interior presentation is also important as it depends on the interior presentation
that how much customers will go out after buying the product. It should be well
organised. Interior presentation generally includes butt brush effect, dressing
rooms, seating area, transition zone, sound smell etc. the display of merchandise
and background colour is also very important in designing of retail spaces.
6. SYNOPSIS OF PROJECT
After learning about retail design I was given a case study of a leading furniture
brand Stanley in which I was supposed to provide space for one, two and three
seater sofa set and bedroom set along with wardrobe . I was provided a plot size of
57’3” x 37’1”. I did the space planning for whole store in which I incorporated
Straight Plan and did the designing of the four cubicles of the store as it was not
possible for me to design the whole store.
The next I learnt was the Restaurant Design. Restaurants are the spaces which
serves the purpose of eating very well. It is a place where preparing and serving of
food is done in exchange of money.. People go to the restaurant for the following
reasons: to enjoy the cuisine, to celebrate some occasion, to have meetings etc.
Restaurants have great ambience, nice music along with good food. Restaurants
are of different types like roadside dhabas, a-la-carte restaurants, fast food outlets,
self-service, third places like coffee shops, ice-cream parlours, juice centres etc.
For doing the space planning of a Restaurant we have to follow the space
considerations like, volume and type of service, suitable traffic aisle, type of
equipment to be used etc. We also have to see how much sq.ft. space per seat
requires for different type of operations. The number of seats given in the dining
area are also to be paid attention to. They are calculated by the formula R=N/T
where R is rate of people leaving serving area, N is the number of seats in a dining
area and T is the average time required for eating. I learnt that the diagonal seating
arrangements are better because they require less space. Along with this the
Turnover Rate is also important, it is estimating the average time a seat is
occupied.
After learning about the Restaurants I was given a case study in which I was
suppose to do the space planning and designing of the space. The space provided
was 46’x 50’. Before starting the case study I did the swot analysis of the
restaurants of Ajmer after that I took out the loop holes
To start any project the designer should have an inspiration. I took geometry as my
inspiration then I studied about various style which were having geometry from all
styles o chose Chines style as concept for my restaurant. I did the space planning of
whole restaurant. For designing part I chose two walls as it was impossible for me
to design the whole restaurant in the given time period. I designed the wall of a
reception area and another wall of ice cream parlour area which was based on
Chinese style. I also did the product designing for reception desk and ice cream
counter.
After that I also learnt about various aspects of office design. The goal of office
work is almost to provide specific task accomplished by individuals and groups that
assists in achieving the overall goal of the business.
The office design project is still in the making
7. PROFILE
EXPERIENCE
I am Garima Sharma pursuing my
Bachelors of Science in Interior
Design with two year advanced
Diploma Program from Dezyne
E’cole College, Ajmer. I am a good
listener as well as a good learner.
Dezyne E’cole has helped me to
develop my skills.
Residential Project--
• Residential Space Planning
• Wardrobe Design
• Elements Of Style
• Product designing
• Lighting Design
Commercial Design--
• Retail Store’s Designing and
space planning
• Restaurant’s space planning
and Designing
• Print making
PERSONAL SKILLS
INTERESTS
EDUCATION
• Music
• Google
• Designing
• Pinterest
LANGUAGES
• English
• Hindi
BSc. in interior design from Dezyne
E’cole College, Ajmer (2014-2017).
12th CBSE board from All Saints
School, Ajmer (2013-2014)
10th CBSE board from All Saints
School, Beawer Road, Ajmer
(2010-2011)
dezyneecole@gmail.com
9829024839
0145-2629679
www.dezyneecole.com
GARIMA SHARMA-
INTERIOR DESIGNER
• Hardworking
• leadership quality
PROFFESSIONAL SKILLS
• Google Sketch up
• AutoCAD
• Autodesk 3ds max
• Microsoft PowerPoint
• Microsoft word
8. COLLAGE WITH DESCRIPTION
Working in innovation lab.
Material lab.
Reading magazine in Library. Working in drafting lab.
Reading in Library.
12. INTERIOR DESIGN INDUSTRY
Interior design is the art of process of designing the interior, often including the
exterior, room of a building etc. interior design is a multifaceted profession that
includes conceptual development, communicating with the stakeholders of a
project and the management and execution of the design
What is interior design?
Interior design is the total creative solution for a programmed interior. It
encompasses the conceptual planning, aesthetics and technical solutions applied
to achieve the desired result. A “ programmed interior” means a specific intended
purpose or use of the built environment. Interior design concern itself with more
than just the visual or ambient enhancement of an interior space, it seeks to
optimize and harmonize the uses to which the built environment will be put.
It is the collaboration of elements of design with principles of design. The designer
must have an aesthetic, practical and technical appreciation for these elements. He
or she must understand how people use and respond to these elements
Why Interior Designing?
Interior designing give an appearance or the look to a room or space. It is not
about just what looks pretty or aesthetically pleasing and is more than just
selecting fabrics and paint colors.
Need of interior designing?
It is a process to provide solutions and interior designers are the problem solvers.
They grab to the heart of the issue and design spaces that have the junctions,
aesthetic and quality that the client is looking for
13. When designing, interior designers are thinking of how to transform people’s lives
and make their quality of life better. Interior designer affect how people live, move
through space and interact with interior environment on a daily basis, across the
globe.
Interior design mainly divided in 2 types
Residential
Commercial
Residential
Residential design is the design of the private residences. Space designed in
residential space should have the feeling of relaxation. In this design the needs and
wants of the individuals are considered important.
Commercial
Commercial design is the design related to commercial spaces like offices,
restaurants, hospitals etc. the main purpose of designing the commercial space is
to maximize sales of products or services and to generate profit from customers.
Commercial design encompasses wide range of sub specialties.
• Retail space
• Heath care
• Hospitality/ Restaurants
• Offices
• Theaters
• Auditorium
• museum
14. In the further slides I have explained the
commercial design in detail.
17. COMMERCIAL DESIGN
Commercial interior design is the process of creating and overseeing the construction or
renovation of a commercial space. Involving much more than simply decorating the interiors of
the space, commercial design will address such issues as the choice of building materials, the
layout and placement of interior walls, plumbing and power systems and even coordinating
communications with construction professionals, owners and service providers. This level of
interior design requires the interior designer to have a solid working knowledge of architecture,
as well as a sense for creating functional and attractive setting within the space.
Commercial interior designers design public spaces such as office buildings, community centers,
museums, hotels, stores, warehouses and libraries. In commercial design, the designer have to
create an environment that includes functional and aesthetics
A commercial designer’s work includes selecting paint colors, choosing artwork, accounting for
acoustics and lighting, picking appropriate furniture and placing all these together in the manner
most appropriate to the venue.
Interior design who specialize in commercial interior design often work with the clients to
develop a plan that begins with actual construction or renovation of the building. At the same
time, ideas about ceiling and lighting options should also be taken out, as well as ideas about
how to best arrange the interior space to meet the needs of clients.
19. Many designers specialize in one or more of the following areas of commercial design.
1. ENTERTAINMENT
Entertainment design begin together with the use of interiors , lighting, sound and other
technologies for movies, television, videos, dramatic and musical theatres , clubs, concerts,
theme parks and industrial projects
2. HEALTH CARE
Health care designers create environments for hospitals , clinics, examination rooms, surgical
suits, nursing or any health care environment.
3. HOSPITALITY / RESTAURANTS
Hospitality design focuses on environments that entertain or host the public, including night
clubs, restaurants, theatres, hotels, city and country clubs etc.
4. OFFICE
Office design focuses on public and private areas utilized by corporate and professional service
firm.
5. RETAIL STORE PLANNING
Retail design concentrate on retail venues like boutique, department stores, outlets,
showrooms, food retailing centres and shopping malls.
The three parts of commercial design:
- Retail
- Hospitality space
- Office
Are explained in further slides
21. Retail is the process of selling the consumer goods or
services to customers through multiple channels of
distribution to earn profit.
Shops may be on residential streets, streets with few or no
houses, inside malls or in a pedestrian only.
RETAIL
22. SHIFT IN RETAIL
RETAIL 01
The power in hands of
manufacturer.
RETAIL 02
The power is in hands of
retailer.
RETAIL 03
The power is in hands of
consumer.
23. 1. Specialty Store:- It carries narrow product line, they can be apparel store,
florist and book store having a deep assortment within the line.
2. Super Market:- It’s a large, low cost, low margin, high volume, self service
operation. They have been designed to serve the consumers total needs for food
laundry and household maintenance.
TYPE OF RETAIL STORE
24. 3. Departmental Store:- It carries several product line, clothing , home
furnishing and household goods. Each department over here is managed by a
specialized buyer or a merchandiser.
4. Hyper Market:- These are even larger. It contains supermarket, discount
store, ware house along the other stores.
25. 5. Super Store :- Combination of Hyper Market and super store’s average 35000
sq.ft of selling space. They have the total needs of the consumer. They offer
services like shoe repairing, dry cleaning, lunch counters etc. combination
6 .Off Price Retailers:- They are ordinary discounters who sell at wholesale price. .
26. 7. Discount Store:- A discount store sells standard merchandise at a lower
price by accepting lower margins of profit.
8. Convenience Stores:- These are located near to the residential areas and are opened seven
days a week for long hours and they are relatively small store.
27. Do you ever wonder why customers leave retail stores empty handed?
It may have something to do with retail design of the space and location of merchandise if we
considered how people shop, it may tell us something about how retail environments need to
be designed to maximise customer purchasing.
HOW DO CUSTOMER BUY?
28. THERE ARE TWO TYPES OF METHODS OF BUYING
Traditional method
In traditional methods
customer was not using his
five senses.
Modern method
In modern method customer
is using his five senses for
buying.
29. People use their five senses while buying any product
1. Sight
2. Nose
3. Ears
4. Touch
5. Taste
30. HOW DO CUSTOMER LOCATES BUSINESS ?
• Before considering all the points of retail design the major decision a store has to make is the
location. The location of the business outlet plays a significant role on its performance.
• Along with the location of a store, Road marks and road signs are helpful in locating a business
to customers. They should be attractive and should be different the competitors road signs.
• They should be visible from the distance and should be well illuminated so that the customer
can locate, radium's are the best form for illuminating the road signs for making it visible.
• The most important is the exterior sign of a store ”a sign is a silent salesperson” and a part of
shoppers first impression of a store.
• Name of the store has to be bold, simple, large, easy to read, well designed and should convey
a feeling of welcome.
31. A STORE IS DIVIDED INTO VARIOUS PARTS:-
• Exterior Presentation
• Window Display
• Interior Presentation
• Visual Merchandising
• Entrance
• Circulation
32. How a store visually welcomes customer has a lot to do with whether or not they enter the store.
Although good prices and positive word of mouth, advertising is important, it is hard to overcome
the negative image of a poor store exterior.
Exterior Presentation of retail store includes:-
Store Sign
Store Name
Marquee
Banners
Awnings
Walks and
EXTERIOR PRESENTATION
EXTERIOR PRESENTATION
33. A sign is a silent sales person and a part of shoppers first impression of a store. In less than 10
seconds the sign must attract attention and tell who the business is and what it has to sell off
premise. Signs provide information and direction specially for travelers ad new residents. Sign can
also help communicate a poor location. A sign design conveys a great deal about the business
inside. A stark design(simple) and limited material suggest discount price and no frills shop.
Elegant and expensive sign material may suggest luxury goods and
services.
When preparing a sign do not forget to consider size, shape, material, lettering, height,
placements and structure. The stores sign is its signature. The lettering should be large enough to
read from 200 feet, which is the distance required to stop a car travelling 40Kms/ hour. Signs with
8 inch letters can be read from a distance upto 250feet. A car travelling 55Kms/ hour need about
400feet to stop, so our design will require 12 inches lettering sign to be read at that distance. Signs
should be used to target a specific market segment such as youth, women, senior citizens, singles
etc.
When you have several rectangular sign in close proximity to each other, construct an
oval or circular sign that stands out. Consider the signs relationship with its surroundings.
Simple, well designed, easy to read signs convey a feeling of welcome. Focus on one or two key
words to describe business.
1. EXTERIOR OR STORE SIGN
35. 2. STORE NAME
Name of the store has to be bold, simple, large, easy to read, well designed and should convey a
feeling of welcome. The height of the letter of the sign should be minimum 8 inches. The name
should have self illumination. The proper optical space should be given in the name of the store
otherwise customer will not be able to read.
Three types of fascia sign are:-
36. A special type of sign to display the name of the store. It can be sometimes a kind of permanent
canopy at the entrance or on top of the building to promote the showcasing of season display, an
effective marquee must stand out from other businesses to attract attention.
3. MARQUEE
37. 4. BANNERS
Banners are used increasingly as an inexpensive eye catching means of promotion. Banners can be
hung from flat poles or projected from the building. This leads to making the consumer feel that
change are taking place.
38. 5. AWNINGS
The window awnings provide the customer with protection from weather and makes
viewing of the window display more pleasant as it reduces heat, cuts down on glare
and reflection and prevents fading of merchandise from exposure to the sun. it adds
appeal to the window display. May businesses use black lit awning, electrical awnings.
A variety of styles of awnings are available square, long dome etc. the fabric of canopy
is vinyl it can be translucent/ transparent.
39. 6. WALKS AND ENTRIES
75% of the first time customer remember the store front. It provides the first and the last view of
the stores interior. Picture walking along the wall where the flat surface is plain glass door, as
opposed to the protective feeling offered by walking under a porch or canopy. Entrances that
allows shoppers to come into a store without being aware of their entry is becoming more popular
. Whenever we add an entry way it should be designed to blend with the architecture of building.
40. 7. LANDSCAPING
Landscaping should lead the customers eye to the focal point using color and texture to provide
contrast and harmony. The focal point is the business sign and the building itself. Landscape
screens the undesirable sight such as power transformer, refrigeration equipment's, garbage areas
etc. The essence of good landscaping is simplicity that means the designs that are easy to maintain.
A proper landscaping increases the acoustics of a place. Use benches for resting and relaxing in the
landscape done in front of the retail outlet, this encourages the customer to stay longer.
41. The design of the entrance to a store is very important. It needs to entice the
customer in and give a glimpse of the products beyond the threshold.
Entrance that allow shoppers to come inside the store without being aware of their entry, is
becoming more popular.
Whenever we add an entry way it should be designed to blend with the architecture of living.
ENTRANCE
43. Traditional shop front
Façade of building
Symmetry
Modest graphics
Standards fonts and colors
Mannequins
44. Contemporary shop front
Frameless
Transparency
Graphic language
Live colours
Story telling and scenography
45. Points to be considered in entrance are:
Exterior: Façade, Logo
Threshold, transition
Shop windows
Transparency
Interaction
Mistry, posters
Display
46. The window display’s main task is to communicate to potential customers the essence of the
interior and to display a glimpse of what can be found on the other side of the glass. The shop
front is a draw to buyers to make them feel comfortable when approaching the store and
venturing over the threshold.
• It is a major factor often overlooked in the success or failure of a retail store.
• Attractive product display highlight the display and the focus of the merchandise increases.
• By a pleasant room temperature, attractive general lighting and nice fragrance, along with
suitable background music increases the purchase decision.
• Shop Windows are regularly updated i.e. within 15 days to show the latest products in the
store.
.Points to be followed here are:-
• Principles of design
• Color and Lighting
• Influence of background colour on Merchandise
• Color Rules that can improve Display
• Colors to be used for displaying Merchandise
• Props, fixtures & signage – floor covering, wall treatment, background & backdrop,
mannequins, shelves & steps
• Non-merchandise props- Desks, tables, chairs, shopping bags, pencil, pen, paper
WINDOW DISPLAY
48. INTERIOR PRESENTATION
It requires particular attention in specialty shops. Types range from displays of staple goods which
assist customers in selection, to displays of accessories which the sale of staples may suggest to the
customer. Problems of arrangement regarding to merchandise, departments and routes of
customers approach are involved.
Experienced sales people can tell at a glance the customer who is satisfied with shopping and too
bewildered to buy. After he has been refreshed by a brief rest, the customer’s interest can be
recaptured quickly. Such relaxation may be mental or physical, or both.
Interior Presentation of retail store includes:-
• Store Layout (Plan)
• How to organize store space
• Selling Area
• Point of Sales
• Transition Zone
• Butt-Brush Effect
• Chevroning
• Seating Area
• Dressing Rooms
• Sounds And Smell
• Floor
• Wall
• Ceiling
• We need to make the important element placed at the right side.
49. TYPES OF PLANS
For any store design there are six basic plan types
1. Straight plan
2. Pathway plan
3. Diagonal plan
4. Curved plan
5. Varied plan
6. Geometric plan
50. STRAIGHT PLAN
This is the conventional form of a layout that utilises walls and projections
to create smaller spaces. It is a very economical plan to execute and can be
adapted for any store, for gift shops to apparel outlets, drug, grocery shops
to departmental stores. Variety in this kind of plan is developed by niche
with the merchandise the merchandise here pulls the customer to the back
of the store.
51. PATHWAYS PLAN
Path way plan pulls through the rear. It is generally made for large stores
which are 5000 sq. ft. of more and on one level. In between the path there are
no fixtures or any interruption. This path can take any shape and can create
any design pattern. The designer can use the floor or ceiling for directional
purpose.
52. CIRCULAR PLAN
People respond to circular and curved shapes they soften the angular and
square plan
Curved plans shows premium product and generally used for boutiques,
salons and high quality stores.
Special environments also costs more in creation.
53. VARIED PLAN
Varied plan illustrates added variety of forms which can work to a designer
advantage,
For products that require back up merchandise to be adjacent. ( shoes and
men’s shirts, for e.g..) the varied plan is highly functional.
It is a variation of straight plans where the square footage for keeping boxes
can be done along the perimeters of the shop.
“ this plan has ‘bellows’ effect .
54. DIAGONAL PLAN
Diagonal pattern permits angular traffic flow and creates perimeter design
interest and excitement in movement. Central placement of cash- wrap
permits security and vision.
Mainly used for self service stores
55. GEOMETRIC PLAN
Geometric plan can establish interest. Excessive cost ceiling and floors can be
lowered or raised to create departments E- zones.
56. The Butt brush effect :
Each customer has an area of personal space. This is an area that when invaded causes
customers to feel uncomfortable. Personal space translated into a retail environment
suggests that when a shopper is bumped or jostled while looking at merchandise, the may
become uncomfortable, lose interest, and leave the area. Irritated shoppers do not tarry;
in fact, they leaves before purchasing what they came for.
Butt brush effect
Less space for
walking
57. Transition zone
Every store has a transition zone or area where customers begin to slow their pace and make the
transition from being outside of the store to being inside. This is the shopper’s “landing strip”
what is important about the transition zone is whatever is located in the zone is pretty much
lost on customers. If there is merchandise displayed in this area, customers are unlikely to see it.
Transition
zone
Transition
zone
58. Seating Area :
As retail merchandising faculty, we spend times n stores looking how merchandise is displayed,
how customers are treated, and how customers shop among other things. People like to shop
with others whether friends, spouses, or other relatives. These shopping partners need a place
to rest. If shopping partners have a place to sit, most likely they will not complain and shopping
can continue for longer lengths of time.
59. Dressing Rooms :
Many retailers want to minimize the non- selling areas(e.g. storage) of their stores. Some
apparel retailers make the mistake of assuming that a dressing room is a non-selling area.
Underhill noted that many retailers “think of dressing rooms as bathrooms”. We agree with
Underhill that dressing room is a huge selling tool. Dressing rooms are the location where most
apparel buying decisions are made. They should be easy to find otherwise a customer will leave
without purchase.
60. Floors:
Floors come in a variety of materials and finishes, but the key to a retail floor is durability. The
expected lifespan of a floor finish can be anything from one years to 20 years depending on the
retailer’s needs. The floor finish is used to define different areas within the store. Walkways,
display areas and point of sale may all have different finishes within the same scheme.
61. Ceiling:
The ceiling plays a huge role in the feel of the entire retail space. It is the architectural element
that goes mostly unnoticed, but it is incredibly functional. The ceiling have light fittings, air-
conditioning ducts, fire alarms and sometimes music speakers.
62. Walls:
Walls are one of the most important elements in the retail environment. They support the bulking
structurally, but they can be used to display vast amounts of products, create feature displays and
have color, texture and pattern applied to them in different finishes. Walls act as a divider between
product offers or areas, as a piece of sculpture in its own right, or to add focus to a space.
63. Sound and smell:
Sounds and smells can influence consumer purchasing decisions. Many stores
diffuse
artificial fragrances through their heating and air-conditioning vents or place scent
machines above their doors. It was found that aroma increased the number of
customers purchasing items and amount of their purchases. It was found when
subjected to loud music, customers will spend less time in a store. Customers shop
longer when exposed to unfamiliar music
64. VISUAL MERCHANDISING
Visual Merchandising or Visual Display is a major factor often overlooked in the
success or failure of a retail store. It encourages impulse buying by the customer.
It helps in creating a positive image of a business and results in interest and
attention, so also desire and action on the part of the customer 80% of our
impressions are created by sight and that is why one picture is worth a thousand
words.
Each customer has a mental image of the store and its merchandise. Some
businesses maintain minimum staff to reduce cost which means we need to pay
more importance to the merchandise display so that it makes the customer easy to
find and purchase.
65.
66. To execute a display to sell merchandise, it is necessary to have a working knowledge of the
principles of design. The primary principles of design used in display include balance, proportion,
rhythm, emphasis, colour, lighting and harmony. When applied appropriately all parts of the display
are pulled together to create a purposeful, effective and aesthetically pleasing presentation. An
understanding of these principles will make it easier to design a display for all types of
merchandise.
The Principles Of Design are:-
PRINCIPLES OF DESIGN
Balance
Proportion
Emphasis
Rhythm
Harmony
PRINCIPLES OF DESIGN
BALANCE
PROPORTION
HARMONY
RHYTHM
EMPHASIS
67. When a design is balanced in terms of texture, color, material, mass, size is called balance.
There are two types of balance
Traditional or symmetrical balance.
Informal or asymmetrical balance.
Traditional or symmetrical balance:
Traditional or symmetrical balance is large on one side and large on other side. A space divided
in two and the object kept on one side will b symmetrical to the object placed on other side.
This is effective where expensive and quality merchandise is being presented.
For example: jewelry
BALANCE
68. Informal or asymmetrical balance:
• Informal or asymmetrical balance creates flow of rhythm and feeling of excitement.
• The two sides of display appear to be equal weight but the are not replicas of each other.
• Something large can be balanced by several small objects.
69. It is the ratio of the parts to the whole of display.
It can be done through various methods
Proportion in Rectangle
Proportion in steps Proportion pyramid
PROPORTION:
70. Emphasis means to turn the eye from one object to other.
Things to remember while designing are:
For movement of eyes we can do alternate repetition of shiny
and dull object.
Dull surface absorb light and deemphasize. Shiny objects
appear larger in size
Colour is powerful tool for creating emphasis through
intensity.
EMPHASIS:
71. The viewer’s eye will lead from the dominant object to
subordinate object or from primary presentation of grouping
down to the arrangement of accessories or alternate parts of
display.
Flow by repetition of variety of positions
RHYTHM :
73. Harmony is a coordinating umbrella principle that is used to
incorporate all other principle. It is agreement in feeling of
consistency in mood.
Three forms of harmony are:
• Functional
• Structural
• decorative
HARMONY :
74. “Light Catches Our Attention And Lead Our Eyes”
• A shopper’s eye is drawn automatically to the brightest item or area, we need to
pay attention that the lighting used outside should be 2-5 times stronger than
the lighting used inside the store
• If the object is of warm colour warm light will be used
• If the object is of cool colour, cool light will be used.
COLOR AND LIGHTING
76. • Leather goods:- A comfortable background color choice for leather goods in the mid value
range such as beige or grey. This is the colors used and works well too for intimate apparel and
ready to wear.
• Infant and Toddler:- Green should be avoided, light colors such as pink, yellow, blue and
whites should not be used as background colors in the infant and toddler area as they are the
colors used in the merchandise sol.
• The small size of garments and the generally light tones make the merchandise invisible.
Brighter, sharper colors help these pastels stand out.
• Girls and Boys Merchandise:- Background colors for girls merchandise should be neutral
because of the extensive range of color there. Boys department go with bright colors because
the clothes tend to bright or deep tones.
• Brass Goods:- Browns and burgundies are great for displaying brass goods. Gift areas can
use black and white with bright accents.
• Hardware Store:- Bright orange, bright red and blue are appropriate colors to select for
hardware stores as they provide best contrast with the wood handles and metals of hardware.
• Sporting Goods:- Sky blue and tennis court green enhance sporting goods and equipments
because of their outdoor associations.
• Junior Department:- It utilize various color background depending on current fashion
vogue. When neon colors are fashionable, white is suitable background but when subtle colors
are in fashion, white is too cold and overpowering.
• Men's Wear:- Dark green or dark blue colors used with neutral as accent is effective for
men’s wear areas. Primary, secondary, peach, light blue and green colors should be avoided.
• Grocery:- Stores that carry china and glass can effectively use grey, browns and blue
background. Browns work especially well with bone china and blues are attractive with
porcelain, grey can be used with either of china. Silver should not be shown on brown
background because reflection will make silver appear tarnished.
COLORS TO BE USED FOR DISPLAYING MERCHANDISE
77. After reading about retail and how a customer buy I
have been given a case study of designing a furniture
store.
78. I have been given a case study to design a store for a leading furniture and interior finishes
brand Stanley. The space has to reflect the brand positioning, the range of products and brand
image. The space has to be given due justice to the various sub categories of products, the
space and the décor has to be modular and the space should have the ability to transform,
move around and be utilized as per the product need.
DESIGN BRIEF:
The 2,109 sq. mts. Floor space is located on the ground floor of a premium mall in the
upcoming suburbs of Pune. The façade and the store frontage are of prime importance to the
client. The building is on a corner plot surrounded by two roads north and east side. The store is
inside the mall and has no show window or external view.
CASE STUDY
79. As per the case study, the requirements of my client are:
•Cashier and help desk station
•Customer interaction area
•Sofa set display
•Display of 2-3 bedroom sets
•Display of 25 sofas
•Wardrobes
•Collection series
Plan
Elevation
REQUIREMENTS
80. Before starting any design I need to do in depth study about
the brand and what type of products it offers.
81. Stanley was founded in 1996 by Mr.Sunil Suresh current founder & CEO.
Mr.Sunil Suresh started his journey as a young rebel at heart questing the ways of life and
differences in the society, which created a base for his “why not” attitude. As a teen he ran away
to Mumbai from his home town Bangalore and worked near Gateway of India, selling small leather
products to the wealthy folks who stayed and visited the famous Taj Mahal Palace Hotel. His later
job as a production manager in a leather garment company gave him tremendous exposure to the
world of leather, fashion and luxury.
STANLEY
84. To design any store for retail space we need to understand it is like a Carte Blanche
(blank document) and to design it in a proper manner we need to understand
certain aspects which are enumerated below:
RETAIL DESIGN
EXTERIOR INTERIOR
85. CONCEPT
For my design , first I have to choose a concept whether I go with traditional
or I go with contemporary. I chose contemporary concept.
Contemporary style encompasses a range of styles developed in later half of
the 20th century.
Interior contain neutral elements and bold colour, and the focus on the
basics of line, shape and form.
CONTEMPORARY
86. After selecting concept I made a look book to get some ideas
of how my exterior façade would be.
87. Now I have to decide what type
of exterior I want for my design.
My exterior would be like :
1. Store front
2. Exterior sign
3. Font illumination
4. Window decal
5. Flooring tile
1
2
3
4
5
STORE FRONT
88. Before doing the space planning and designing of the
interior space, I need to do the brain storming and idea
generation to get the ideas so as to determine things that I
need to pay attention to in my design.
90. After doing space planning I studied about different types of
plans such as geometric plan, pathway plan, straight plan etc.
Then I chose that plan which utilized the space in the best
possible way and fulfilled all requirements.
In the subsequent slides you will come across with the plan
chosen by me
for better utilization of space, 2D and 3D elevations made and
the
designing done by me.
104. Restaurant is a place where people socialize. People go down to restaurants for number of
reasons, most of the times its some occasion people want to celebrate that brings them to
restaurant, bored of cooking, eating out gives them a chance to break from the cooking
schedule.
WHAT IS RESTAURANT?
105. For designing the interiors of a restaurant, we have to study the space requirements. Adequacy
of the space will influence building and operating costs and efficiency and decisions pertaining
to space allowance may be strongly affected by the limitations of investment funds and
available space.
Space allowance in relation to investment should be balanced in terms of :
• Proposed permanence of the facility.
• Acuteness of need for the specific operation.
• Essentials for operating efficiency.
• Desirable standards in terms of appearance, sanitation & good quality of production
and service.
• Immediate & future costs, depreciation, upkeep and maintenance.
Studies made before the building is planned as to how space may be added and how the initial
plan should be designed to minimize ultimate cost will be helpful.
It is well to block out space allowances according to functions that the facility is to perform.
Calculate area requirements in terms of :
• Volume & type of service
• Amount & size of equipment to be used.
• Number of workers required.
• Space for needed supplies.
• Suitable traffic area.
The dining area location & space allowance are usually determined first, the production areas
next in terms of specific relationship to the dining area & the other section as required to these.
106. Space for dining area is usually based on the number of square feet per person seated times the
number of persons seated at one time
For example - Small children may require only 8sq. Ft.
- Adult would need 12 sq. Ft. For the same.
• A banquet seating allowance might be as little as 10sq.ft./Seat & for deluxe restaurant 20
sq.ft.
• The diners comfort should govern allowance. Both young and old enjoy having sufficient
elbow room.
• Crowding is distasteful to many people, it is likely to be tolerated more readily by youngsters
then adults.
• Service stations may be estimated in the proportion of a small one for every 20 seats or a
large central one for every 50-60 places.
TYPE OF OPERATION SQ FT / SEAT
Cafeteria, commercial 16-18
Cafeteria, college & industrial 12-15
Cafeteria, school lunchroom 9-12
College residence, table service 12-15
Counter service 18-20
Table service, hotel, club restaurant 15-18
Table service, minimum eating 11-14
Banquet minimum 10-11
Table 1 – Square feet per seat used for various types of food operation
107. Turnover rates can be increased to some extent by many design and operational
factors. This is not to suggest that all facilities should be designed for high
turnover rates. However, if high turnover is one of the basic objectives, then the
planner and subsequent manager can do the following to accomplish this:
• Use menu items that require short processing times, or use pre-dominantly
preprocessed items.
• Provide ample production space and equipment to handle the peak periods.
• Use well-lighted and light-colored painted areas for serving and dining.
• Arrange dining tables in close proximity to each other.
• Develop a somewhat uncomfortable dining seat design.
• Provide sufficient service personnel so guests are served promptly after they
are seated
• Provide for prompt clearing of the tables when a customer is finished with a
course or the entire meal.
• Make sure guest checks are presented to customers as soon as they are
finished eating.
SERVING AREAS
• Space allowances for serving areas should be adapted to the needs of the specific facility. The
menu, organization of work, and the number served will influence size. The type of service will
also be influential in dictating space needed.
• Serving areas for most table service facilities are planned as a part of the main cooking area.
• Ideal design results when the flow of people from the serving facility is balanced with the
seating available in the dining room.
• At equilibrium conditions, the number of seats provided in the dining area has a direct
relationship to the number of people leaving the serving line for a given average eating time.
• The relationship can be expressed by the equation :
R = N/T
R = rate of people leaving serving area
N = number of seats in dining area, and
T = average eating time
109. When space is too small, labor time and efforts are likely to increase and the volume
and quality of output decrease. When it is too large, building and maintenance costs are
excessive.
Ample space is sometimes provided by means of low-cost materials and equipment of
such inferior quality that they have short and unsatisfactory service life.
Space allowances in relation to investment should be balanced in terms of:
-- proposed permanence of the facility
-- acuteness of need for the specific operation
-- essential for operating efficiency
-- desirable standards in terms of appearance, sanitation and good
quality of production and service
-- immediate and future costs, depreciation, upkeep and maintenance
Requirements will vary for facilities of a given type and volume.
Production and storage requirements will be affected by location; type of operation;
clientele; frequency of deliveries of supplies; kind of food used, such as fresh, frozen, or
canned; and the completeness of processing to be done. The policies of those in charge
will have an influence. Certain general information such as numbers to be served
turnover, arrival rate, and type of service will be helpful in deciding dining area needs.
Area requirements are calculated in terms of:-
-- volume and type of service
-- amount and size of equipment to be used
-- number of workers required
-- space for needed supplies
-- suitable traffic area
SPACE REQUIREMENTS
110. Area requirements are calculated in terms of:-
-- volume and type of service
-- amount and size of equipment to be used
-- number of workers required
-- space for needed supplies
-- suitable traffic area
The dining area location and space allowances are usually determined first, the production
areas next in terms of specific relationship to the dining area, and the other sections are
required to these.
I have planned according to the dimensions of Tie Savers Standards. all dimensions are
pertaining to the standards. The dimensions will change if the person changes.
The patron’s size and the type and quality of service should be considered. Small children
may require only 8 square feet for a type of service in which an adult would need 12 square
feet for comfort. A banquet seating allowance might be as little as 10square feet per seat
and that for a deluxe restaurant as much as 20 square feet.
The diner’s comfort should govern allowance. Crowding is distasteful to many people.
Place settings for adults usually allow 24 inches and for children 18 to 20 inches.
Service stations may be estimated in the proportion of one small one for every 20 seats or a
large central one for every 50 to 60 places.
111. All of the areas in a dining room used for purposes other than seating are a part of the
square footage allowed for seating. This does not include waiting area, guest facilities,
cloakrooms, and other similar areas. Excessive loss or use of space for other than seating in
the dining area will however, increase the needs.
Small substations for silver, dishes, napery, beverages, ice, butter, and condiments may
measure 20 to 24 inches square and 36 to 38 inches high.
It is important that the table be of adequate size to accommodate the number of trays likely
to be there. Four trays 14 by 18 inches fit better on a table 30 inches by 48 inches than on a
table 42 inches square. Small tables, such as 24 or 30 inches square are economical for
seating but are uncomfortable for large people. They are suitable in crowded areas with fast
turnover and light meals.
Tables for booths are difficult for waitresses to serve if they are longer than 4 feet.
The maximum area best served by one waitress is generally 16 feet of counter. This will give
8 to 10 seats.
A minimum passage area is 18 inches between chairs and, including chair area, tables
should be spaced 4 to 5 feet apart.
Diagonal arrangement of square tables utilizes space better than square arrangement and
yields a more trouble-free traffic lane.
112. Table size influence patron’s comfort & efficient utilization of space and the best utilization of
space can often be arrived at through the use of Diagonal Arrangement than square
arrangement and yields a more traffic-free lane.
Fig- 1. Rectangular and diagonal arrangement of tables.
‘NUMBER OF PERSONS’ ALLOWANCE
The number of persons to be seated at one time is the second point of information needed for
calculation of the dinning room size
(Total no. of seats required x (Space required for each seat) = Total number of Sq.ft needed in
at 1 time) Dining Area.
113. TYPE SHAPE MINIMUM
SIZE(in.)
SPACIOUS
(in.)
Table for 1’s or
2’s
Square
Rectangle
Round
24 x 24
24 x 30
30
30 x 30
30 x 36
36
Table for 3’s or
4’s
Square
Rectangle
Round
30 x 30
30 x 42
36
42 x 42
36 x 48
48
Table for 5’s or
6’s
Rectangle
Round
30 x 60
48
42 x 72
60
Drop leaf tables 30 x 30 in. opening to 42 in. round
36 x 36 in. opening to 52 in. round
Table 2 - Typical sizes and shapes of dining tables
Number of Person’s allowances:-
The number of times a seat is occupied during a given period is commonly
referred to as “turnover”.
The turnover time is speed up 10 percent b patrons removing their soiled dishes
so that the tables are quickly available for other guests.
Deluxe service for leisure dining, involving removal and placement of several
courses, takes the longest time.
The calculation of occupancy of seats in a dining room must take into
consideration a certain percentage of vacancy, except where a given number are
seated at one time according to assignment. In table-service dining rooms this has
been estimated as 20 percent of total capacity, in cafeterias from 12 to 18
percent, and for counter operations 10-12 percent.
114. The utilization of seating capacity tends to be greater for cafeterias than for table service. The
patron may spend 25 to 50 percent of the time while seated at the table waiting for service. The
cafeteria diner may begin eating as soon as he is seated. One cafeteria line can serve 4 to 8
patrons per minute depending on:-
• Speed of the servers
• The elaborateness of food selection
• Convenience of the layout
• Type of patrons
Commercial restaurants located in shopping or office areas often have a heavier demand at noon
than at the dinner hour.
Kitchens serving a smaller number require a larger square footage per meal than those serving a
larger number.
The turnover is determined by estimating the average time a seat is occupied for the time period
desired. For example, if the turnover is to be expressed on a per-hour basis and the average
estimated time the seat is occupied is 20 minutes, the turnover rate is three. If the average seat
occupancy time is 30 minutes, then the turnover rate is two per hour. Determining the turnover
rate per meal period is useful for determining the total seating capacity based on estimated sales
volume.
Turnover rates are affected by the method of serving and serving time as well as by the type of
customer, menu offerings and the dining atmosphere. Typical turnover rates for some types of
food- service operations are given in table;-
115. Turnover rates can be increased to some extent by many design and operational factors. This is
not to suggest that all facilities should be designed for high turnover rates. However, if high
turnover is one of the basic objectives, then the planner and subsequent manager can do the
following to accomplish this:
• Use menu items that require short processing times, or use pre-dominantly preprocessed
items.
• Provide ample production space and equipment to handle the peak periods.
• Use well-lighted and light-colored painted areas for serving and dining.
• Arrange dining tables in close proximity to each other.
• Develop a somewhat uncomfortable dining seat design.
• Provide sufficient service personnel so guests are served promptly after they are seated
• Provide for prompt clearing of the tables when a customer is finished with a course or the
entire meal.
• Make sure guest checks are presented to customers as soon as they are finished eating.
TYPE OF OPERATION TURNOVER RATE
(per hour)
Commercial Cafeteria 1 ½ - 2 ½
Industrial or School Cafeterias 2 - 3
Counter Service 2 – 3 ½
Leisurely Table Service ½ - 1
Regular Table Service 1 – 2 ½
116. After studying about the restaurant design I have been
given a case study of a restaurant which is shown in the
subsequent slides.
117. CASE STUDY
I am supposed to do space planning and create a restaurant for serving multi-cuisine. As a
designer I need to create a floor plan for this restaurant which needs to feature reception, food
serving area, toilet facilities and satellite kitchen. I need to provide location and give space for
food receivable storage, main kitchen, dishwashing, pot and pan washing, garbage, maintenance
department for this restaurant.
I also need to provide security & the time machine(biometric), staff parking zone, restrooms with
toilet & sleeping facilities.
The recruitment division, the salary & training division (the HR department).
I also need to specify the space for car parking of clients and the views on landscape provided by
me for this restaurant.
118. Before starting the project I did the survey of the
restaurants of Ajmer on the basis of things which I have
learnt, I saw that no restaurant was made on the
consideration of the points in previous slide. Then I did the
S.W.O.T analysis of some of the restaurant which is
discussed in the further slide.
120. S.W.O.T. ANALYSIS
STRENGTH- Ajmer is a tourist destination. There are many people coming down
to Ajmer from different parts of the world. People would like to go to a restaurant
to have a nice meal.
WEAKNESS- lack of good food joints and those restaurants which are present are
not hygienic, where as, it is very important that a food outlet should be very neat
and clean and tourist will not like to go to an unhygienic restaurant.
OPPORTUNITY- it is a tourist destination and people come down to visit Pushkar,
Dargah, Baradari etc. they have money to spend but don’t have a good and
hygienic place to eat meals. A nice restaurant in such a location would really be a
good opportunity.
THREATS- there are no threats because there is lack of good food outlets. Hence
there is no competition. A good outlet can become the opportunity for the owner.
121. After doing the SWOT analysis of restaurants of Ajmer, I
did the survey of restaurants of Ajmer and took out the
loop holes.
122. LOOPHOLES IN AJMER’S RESTAURANT
After seeing so many problems in food joints of Ajmer, I did the thought process and took out the
loop holes of the restaurants of Ajmer. They are-
Food and theme does not go with each other.
Restaurants in Ajmer are either made in basement or on top of the building which are out of
the sight of people..
There is only 1 main kitchen and customers are not allowed to enter in the kitchen.
Restaurants does not have an appropriate location it should be located at such place where
there is more crowd or where there opportunities are high.
Arrangement of chair and tables are not done properly, chairs are either too high or too low
which are uncomfortable for the seating purpose.
There are many restaurants where the lighting arrangement is not proper either the
intensity of light is dim or too high.
Here most of the restaurants are packed from all the sides clients does not have the view
outside to see and enjoy their meal.
No signage is kept so that people can see the and locate the outlet from distance.
126. As I have to design a multi cuisine restaurant the first thing I am supposed to do is to select the
type of restaurant
The different types of restaurants are-
- A- la- Cart
- Fast food service
- Cafeteria
- Banquet seating
- Counter service
- Hotel, club restaurant
I am designing an A-la-Cart restaurant
127. Before starting any project the first and the foremost thing is to
see the site location, orientation, macro and micro climate of
the site.
128. SITE CONSIDERATION
• Macro climate of India:-
• Location of India in the world Is “North-West” direction
• Longitude of India 68 to 97 25’
• Latitude of India 8 to 37
• The whole India has a tropical monsoon climate, since the greater part
of the country lies within the tropics.
Map Of India:
129. • Location of Rajasthan in India is “North-West” direction.
• Longitude of Rajasthan 69 29’ and 78 17’.
• Latitude of Rajasthan 23 30’ and 30 11’.
• The climate of Rajasthan is generally hot and dry.
Map Of Rajasthan:
130. Ajmer has a typical desert climate and hot and arid with over 55cms of rain every year.
Temperature remains relatively high throughout the year with summer having maximum
temperature near 40 C and minimum is 25 C.
The winters are chill with minimum temperature 5 C.
Longitude 74 42’ North
Latitude 26 27’ East
Map Of Ajmer:
131. SITE SELECTION AND ANALYSIS
Location of the site, site analysis, site and its surrounding are first undertaken.
Site analysis is the process of surveying or studying the existing environment and how it will
influence, the structural design and layout of the site. Site analysis must be completed first before
design development.
Bajran
garh
Propose
d Site
Sharda
hospital
Divya
Deep
Circle
132. ACCESSIBILITY TO THE SITE
The main entrance and the main road abutting the site is very important for any kind of the
project.
0
Entrance of my site is west facing.
Bajran
garh
Propose
d Site
Sharda
hospital
Divya
Deep
Circle
133. MAJOR LANDMARKS CONNECTING THE SITE
The connectivity to main roads and other sub-roads.
The distance from the major landmarks such as:-
• Railway Station:- 2.7 km
• Bus Stand:- 2.4 km
• Shopping Centre:- 1.1 km
• Police Station:- 2.4 km
• Hospital:- 950 m
134. MACRO CLIMATE
Macro climate is the climate of a larger area such as a region or a country.
Macro climate around a building cannot be affected by any design changes
however, the building design can be developed with a knowledge of the macro
climate in which the building is located.
The macro climate is contrasted with local climate and micro climate. Macro
climate is not controlled by the designer.
135. MICRO CLIMATE
A micro climate is a local set of atmospheric conditions that differ from those of
the surrounding area. It is the climate of a small specific place within a large area.
The presence of water and vegetation on the site can also be used for natural
cooling. Good site layout can reduce loads appreciably by optimizing natural solar
protection and local breezes.
Micro climate depends upon the shades, sunlight, wind in a particular space.
136. ORIENTATION OF SITE
In every plan orientation is very important, by orienting the plan the space will be more lighted
up and ventilation will be proper in a space.
NORTH
SOUTH
WEST EAST
WINTER SUN
SUMMER SUN
INTENSE SUN
Preferred Zone
For Building
Orientation
Acceptable
QUADRANT Of
Windows
orientation
TOTAL SHADE
137. Before starting any project it is essential for a designer to chose
an inspiration. After doing a thought process I took geometry
as my inspiration and did some thought process to know about
its various aspects.
140. GEOMETRY
Geometry is one of the classical disciplines of math, roughly translated in Greek
as “ earth measurements”. It is more focused with the study of measuring
lengths, areas and volumes of space and figures. Geometry was arrived from
ancient times and is still in use up to now.
Geometry is found every where around us from our body to trees, from stones
to shells, from Egyptian pyramids to Hindu temples, we can see geometry in
everything.
Pythagoras was the first mathematician who gave the Pythagorean theorem,
which was completely based on calculations of geometric shapes.
Marcus Vitruvius was another mathematician who found that the human body is
also based on Golden Section. He has made a drawing of a Vitruvian man.
World famous painting of Mona Lisa was made by Leonardo da Vinci which was
completely based on Golden Ratio.
Euclid, a Greek mathematician enters history as one of the greatest of all
mathematician and he is often referred to as the ‘Father of Geometry.
Sacred geometry is a wide term under which Golden Section, Fibonacci series,
golden spiral etc. comes. Sacred geometry involves sacred universal patterns
used in the design of everything in our reality.
The golden ratio is a special number approximately equal to 1.618. it appears
many time in geometry, art, architecture and other areas.
In real life, geometry has a lot of practical uses, from the most basic to the most
advanced phenomena in life. Even the very basic concept of area can be a huge
factor in how our daily business we can do.
Architectural begins with geometry, since early times architects have relied on
mathematical principles.
The ancient Roman architect Marcus Vitruvius believed that builders should
always use precise ratio when constructed.
In interior design geometry plays a key role, foe determining proportion,
placements of objects, motifs, patterns etc. that are aesthetically pleasing.
Geometric patterns were used since ancient times periods such as Art Deco in
which the solid geometric shapes came into use.
There are many styles in which the geometric patterns and motifs has been
used. For e.g.. African style Islamic style, Japanese style, Chinese style,
Moroccan style etc. it gets transformed according to the locations like in Hindu
architecture more curved lines has been used where as in Islamic architecture
straight line and inlay work has been used
141. Hence, I conclude that through geometric shapes such as square, rectangle,
triangle, circles we can create infinite number of designs, motifs, patterns etc.
for giving a pleasing look, every creation should be based on Golden ratio.
Geometry fascinated me, I seen it in things around me and I tried to relate it
with my field to generate new ideas which are shown in subsequent slides.
142. I studied about various styles like Chinese, Japanese, morocco,
Islamic, art deco etc. I found that every style has one common
thing which was geometry . I was fascinated by geometry and
took geometry as inspiration.
145. After making so many geometric patterns I did the thought
process and made a plan in which I have made layouts for
space planning, detailing, circulation, furniture and flooring
layout.
196. The goal of office work is almost to provide specific task accomplished
by individuals and groups that assists in achieving the overall goal of
the business. An office that is poorly planned or has the wrong
furniture products can contribute to the office working inability to do
their jobs, negatively impacting the bottom line of the client, company.
On the other hand, effective functional design and planning, along
with sensitive specifications of products and materials, can lead to an
increase in employee productivity, effectiveness and specification.
OFFICE DESIGN
197.
198.
199. LIGHT
The light is something which makes vision possible. Light is that part of the electromagnetic
spectrum that is perceived by our eyes.
There are two types of light source :
There are two types of lighting:
Light
Natural Light Artificial Light
202. UNITS OF LIGHT
CANDELA
It is equivalent to the illumination of one standard candle.
FOOT CANDELA
It is the amount of illumination on a surface from a light source of on candela that is a foot away
from the surface.
ONE FOOT CANDELA =1 Lumen /Square foot
ONE LUX
Is the amount of illumination created by a light source of one candela which is one meter away
from the surface .
1LUX=1 Lumen /Square meter
LIGHTING CALCULATION
ACTIVITY FOOT CANDLES LUX
Hall ways 5-7 55-75
Entertaining 10-20 110-215
Dinning 10-20 110-215
Easy reading 20-50 215-540
Bathroom 20-50 215-540
Kitchen basic lighting 20-50 215-540
Kitchen food preparation 50-100 540-1075
Difficult reading writing 50-100 540-1075
General workshop lighting 50-100 540-1075
Fine or detailed work 100-200 1075-2150
203. The colour rendering index (CRI) Sometimes called rendition index, is a quantitative measure of
the ability of a light source to reproduce the colour of various objects faithfully in comparison
with an ideal or natural light source.
Colour rendering: Effect of an illuminate on the colour appearance of objects by conscious or
subconscious comparison with their colour appearance under a reference illuminate.
COLOUR RENDERING INDEX (CRI)
A palette of specific colors is used, and the CRI calculation is
the difference between each color sample illuminated by the
test light source and the reference source. The group of
samples is averaged, and a score between 0 and 100 is
calculated, with 100 being the best match between light
sources. The higher the CRI of a light source, the better – and
more natural – colors appear.
204. TYPES OF ARTIFICIAL LIGHITNG
GENERAL LIGHTING
General lighting is the main source of illumination in a space. This uniform, base level of lighting
can easily become the focus of energy reduction, as the light levels from other fixtures can be
lowered, especially when using LED and CMH lamp sources. Recommended light levels for
general lighting is 30 – 50 foot-candles.
TASK LIGHTING
Task lighting is used to illuminate an area for a specific task; providing a focused, localized, and
higher level of illumination. Necessary to the functioning of a space, it is important to use
energy efficient sources to reduce operating costs. Task lighting is most effective when used as a
supplement to general lighting in workspaces, conference areas and on counter tops. Effective
task lighting should eliminate shadows on the specific illuminated area, while preventing glare
from the lamp or off surfaces. Recommended light levels for task areas are 50 – 200 foot-
candles.
ACCENT LIGHTING
Accent lighting creates a dramatic emphasis on the space using a focused, or point, light source
or sources. It adds depth, contrast and creates a focal point for items to be displayed; it
highlights shape, texture, finish and colour. If this light is directed ambiguously, the end result
may have many unwanted shadows obstructing the details of the highlighted items as
well as distracting glare. The key is to make this illumination more precise and of higher
intensity than the surrounding ambient light. Track fixtures, recessed housings with adjustable
trims and concealed adjustable illumination with point source lamps provide directional control
and are especially effective for accent lighting. Recommended light levels for accent lighting are
between 150 – 500 footcandles
205. Lighting design for restaurants all depends on the type of venue, and the desired atmosphere.
The perfect formula for lighting restaurants is a mixture of ambient and accent lighting that
blends into the architecture and becomes unnoticeable. This allows the addition of decorative
luminaires to be just that – decorative – adding to the atmosphere and mood of the restaurant.
Consider ConTech Lighting Recessed Housings; a myriad of voltage, lamp, and trim options make
it an excellent ambient light source. It is important to consider zoning: the overall ambient
lighting should be subtle, but passageways, service areas, and hallways should be more brightly
lit. The light levels should be appropriate for the space. Recommended ambient levels are
around 15 foot candles, with 30 foot candles over the tables for contrast and functionality.
RESTAURANTS, BARS, AND LOUNGES
206. LIGHTING CALCULATION
Calculating for the Lumen Method
A production area in a factory measures 60 metres x 24 metres.
Find the number of lamps required if each lamp has a Lighting Design Lumen (LDL)
output of 18,000 lumens.
The illumination required for the factory area is 200 lux.
Utilisation factor = 0.4
Lamp Maintenance Factor = 0.75
QUES.
PLAN.
N = ( 200 lux x 60m x 24m ) / ( 18,000 lumens x 0.4 x 0.75 )
N = 53.33
N = 54 lamps
Spacing
207. LIGHTING CALCULATION
Spacing:
The aim of a good lighting design is to approach uniformity in illumination over the
working plane.
Complete uniformity is impossible in practice, but an acceptable standard is for
the minimum to be at least 70% of the maximum illumination level.
This means, for example, that for a room with an illumination level of 500 lux, if
this is taken as the minimum level, then the maximum level in another part of the
room will be no higher than 714 lux as shown below.
500 / 0.7 = 714 lux
Data in manufacturer's catalogues gives the maximum ratio between
the spacing (centre to centre) of the fittings and their height ( to lamp centre)
above the working plane (0.85 metres above f.f.l.)
231. CONCLUSION
During the working of these projects I learnt a lot
about the design development, how to inbuilt the
Elements and Principles of Design, colour schemes
in our design. These projects overall taught me how
to increase the aesthetics of a space and how to
increase the earning for a commercial space with the
help of designing.
232. BIBLIOGRAPHY
• Building Construction By Sushil Kumar
•Time Savers Standard
• Color Harmony
•Inside Outside Magazine
• Society Interiors magazine
•Internet
•Pinterest