Concepts of Interior Design
The scale and proportion of any interior must always relate to the architecture within which the interior exists, but the other important factor in considering the scale of man’s environment is the human body. Throughout the ages, designers and architects have attempted to establish ideal proportions. The most famous of all axioms about proportion was the golden section, established by the ancient Greeks. According to this axiom, a line should be divided into two unequal parts, of which the first is to the second as the second is to the whole. Leonardo da Vinci developed a figure for the ideal man based on man’s navel as the centre of a circle enclosing man with outstretched arms. The French architect Le Corbusier developed a theory of proportion called Modulor, also based on a study of human proportions. Yet, at best, these rules are merely guidelines. They can never substitute for the eye and judgment of the designer, and it is reasonable to predict that attempts to make the all-powerful computer a substitute for the designer’s sensitivity are also bound to be far from perfect.
It was stated earlier that the need for a changing scale and spatial relationship in the environment seems a natural one, almost a physiological as well as a psychological one. Perhaps the need for “personal” environment and scale can best be understood by considering some extreme examples. To a person flying at 30,000 feet in an airplane, the scale of anything seen on the ground appears so small that he loses touch with the reality of objects. People who fear heights are rarely bothered by the view out of an airplane because the distance to the objects on the ground has transcended normal perceptions of scale. In a similar manner, a person’s reaction to the scale of a small house is quite different from his reaction to a large high-rise building. Details of pattern, texture, and material are accepted and expected in the small structure since they are in a meaningful scale with respect to man. By the same token, the sculptural ornaments on the tops of early skyscrapers seem absurd today.
Almost all principles of design for interiors can be comprehended with clear analytic understanding and common sense, without regard to dogmatic rules. If a beautiful 18th-century breakfront (which might be more than eight feet tall) is placed in an apartment with a ceiling height just an inch higher than the piece of furniture, it would obviously look out of scale. If a space is planned so that all the heavy and massive pieces of furniture are pushed toward one end of the room, with nothing on the other side, the room would obviously look out of balance. Yet balance and symmetry applied as inviolate design principles would result in very formal, very traditional, and somewhat dull interiors. Careful symmetry was a generally accepted rule during the Renaissance, and in any classic building one can be sure to find a carefully balanced and symmetrical facade, just as most formal and classic interiors have rigidly balanced plans. It is now recognized that balance can also be based on asymmetry. Both architecture and interior design in the 20th century have consciously broken with the many rules handed down from past eras. It is more important for a building or space to be expressive of its purpose. At one time, it was traditional for a theatre, opera house, or concert hall to embody certain forms and shapes without any real consideration of sight lines, seating distance from the stage, or acoustics. On the other hand, the Berlin Philharmonic Concert Hall (1964) works beautifully as a concert hall and expresses its purpose and function clearly in an exciting and dynamic way (see photograph ).
Balance and symmetry, colour, pattern, and repetition used to be a matter of adherence to a tradition. Until fairly recently, many interiors were painted in dark colours, often ignoring the fact that light reflection was adversely affected and that no real contrast or sparkling accent was achieved. In many contemporary rooms, however, most surfaces are kept in neutral or light colours, possibly with one wall accented in a strong colour or texture. An interior with uniform overhead lighting might be an efficient work space but would lack the character that can be achieved by providing some accent lights in small areas.
