Chapter 2 Power Point

CHAPTER 2 RELATED LITERATURE

The following related studies and literature provides details and bases on the proposed interior environment design of St. Ezekiel Homes.

On Interior Design Interior design is the total creative solution for a programmed interior. It encompasses the conceptual planning, aesthetic and technical solutions applied to achieve the desired result. A "programmed interior" means a specific intended purpose or use of the built environment (www.asid.org). Many factors come into play in formulating the design solution. There is the space itself-its dimensions and construction--with its potential and its limitations. There is how the space will be used--for work or leisure, entertainment or worship, healing or learning. There is the meaning of the space, what it signifies--be it power, authority, security, wisdom, achievement, playfulness or serenity. There are practical considerations, like ease of access, amount of light, acoustics, seating and places to store or set things down. There are health and safety considerations, attention to special needs and more. The elements of design range from the visual (color, lighting, form) to the tactile (surface, shape, texture) to the auditory (noise, echo). 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, not just individually but as the elements interact with one another.

Designers must also be knowledgeable about the many types and characteristics of furnishings, accessories and ornaments used in creating interiors. Furniture, lighting, carpeting and floor covering, paint and wall covering, glass, wrought metal, fixtures, art and artifacts are just some of the many items and materials designers select from. In addition, they must be familiar with the various styles and history of styles of design, art and architecture. On the Purpose of Interior Design The field of Interior Design is concerned with finding creative, technical and innovative solutions to lay out the space of many types of buildings, including houses, theaters, restaurants, hotels, convention centers, airports and medical facilities. Interior Design addresses the structure of the room as well as its décor. Solutions should be functional and visually appealing, improve occupants' quality of life and consider the traditions of the occupants.

On Types and Approaches of Interior Design It is common for Interior Design professionals to specialize in only one area of design, but many interior designers are choosing to focus on both commercial and residential Interior Design. Although designers and clients often look for fresh concepts and a new look, many stick with basic Interior Design styles that are casual, formal, traditional and contemporary. Some other areas of specialization include: •

Interior Design for accessibility

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Health & safety issues

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Green, sustainable Interior Design

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Lighting design ( http://degreedirectory.org/articles/What_is_Interior_Design.html)

FOREIGN LITERATURE On Space Many factors come into play in formulating the design solution. Space, its dimension, and construction, with its potentials and its limitations, are one of these. How the space will be used for leisure, entertainment or worship, healing or learning is another. Also, the meaning of space, what it signifies- be it power authority, security, wisdom, achievement, playfulness, or serenity, should also be considered. Further, there are practical considerations, like ease of access, amount of light, acoustics, seating and places to store or set things down. Furthermore, are the health and safety considerations, attention to special needs and more. While it’s been thought that modern interiors are cold and minimalist, today’s contemporary interiors are comfortable and welcoming without being cluttered and dark. It’s a style that is equally appropriate for offices and stores, loft and homes. Fundamentally, simplicity, subtle sophistication, texture and clean lines help to define contemporary decorating. Interiors showcase space rather than things. By focusing on color, space and shape, contemporary interiors are sleek and fresh. •

Color Neutrals, black, and white are the main colors in contemporary style interiors. The palette is often punched up and accented with bright and bold color. Black is often used to ground and define a contemporary style room. With walls painted in a basic neutral, you have a wonderful backdrop for bold colored accessories. If the walls and windows are painted in pastels, the trims should be neutral. If a wall is a bright, bold color, neutrals should be used everywhere else.

Color combination is really the most important part of color theory and designing with colors, and also the hardest-- It always comes down to your personal judgement and how you look at colors. There are, however, some guidelines that can be used to make a color

combination

that

is

interesting

and

pleasing

to

the

eye.

(http://www.colorsontheweb.com/combiningcolors.asp) “Color has a strong role to play in our lives” (Walton, Color Your Home: Inspiring Ideas to Brighten Up Your Life) and it can certainly affect people both physically and psychologically.” “People respond to what they sense, not always to what is real” (Whitehead, Residential Lighting 2004) Walton, further explores the psychology of color. “Color affects our states of mind; some even believe in its power to cure illness. Whether or not you believe in the more cosmic theories about color, there is certainly scientific proof that color can warm us up or cool us down.” (Walton, Color Your Home: Inspiring Ideas to Brighten Up Your Life) The shades of black and white are just the right colors for the Salvation Amry Building. It is neither too loud nor too plain. “Black and white presents such a strong contrast that they are used over large areas only by the very brave or those wanting to make a grand statement.” (Walton, Color Your Home: Inspiring Ideas to Brighten Up Your Life) The dramatic effect of black and white can be stark and cold unless handled with sensitivity. The secret to success it to “have lots of colorful ethnic artifacts and interesting paintings to display against the pure white background.” Whites come in a staggering variety. A pure or “clean” white, which contains no deep pigments, is the whitest. Most others can be divided into two families: warm whites, with yellow, pink or brownish undertones; and cool whites, with minty green or blue-gray undertones. “Blue-green whites have a cool, crisp, breezy feel and blend well with equally cool colors from the blue and green side of the spectrum. Pink whites have a subtle rose or peachy

blush that is flattering to faces and furnishings alike. Yellow whites are often described as warm, creamy, or buttery.” (Riva, Interior Style; How to Use Color throughout Your Home) Grays, on the other hand, “are chameleons of color – infinitely adaptable, at home in any scheme. They always blend in and take in some of their neighbor’s complementary shade: Gray next to red will look green, gray next to green will look red. This quality makes gray a true neutral, able to fade into the background and complement any décor.” Violet-grays reveal a dusky amethyst tinge. Blue-grays have a cool, silvery, metallic quality. True grays are the pale value of black, without colored undertones. Often used an alternative to black, they make a crisp, lower-contrast pairing with white. Mutable and complex, green-grays can have a warm, sagebrush glow or a cool, water-in-winter look. Olive and putty grays can be a bridge color between warm and cooler shades, revealing hints of deep green and brown. The soft-gray family has yellow, taupe, and beige notes. Brown-grays have a warm, rich quality. •

Line and Space The most obvious and distinctive element of a contemporary style interior design is line. It's found in architectural details, use of bold color blocks, high ceilings, bare windows, and geometric shapes in wall art and sculpture. The bare space, on walls, between pieces of furniture, and above in upper areas, becomes as important as the areas filled with objects. In contemporary interiors, less is more. Each piece stands out as individual and unique.

Condominium Units •

When in comes to the total Unit Arrangement of the Condominium, “There must be no circulation through bedrooms to other bedrooms or to primary bathrooms. Bathrooms should be near the bedrooms. Bathrooms must not open into the Living

Room, Dining Room, or Kitchen.” (http://www.nyc.gov/html/hpd/downloads/pdf/newconstr-guidelines.pdf) •

“Circulation through the Living Room should be avoided and all door placements and wall lengths should accommodate furniture placement. “

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In designing the Kitchenette or Kitchen in the Condominium Unit, “Kitchen to Living Room visibility should be maximized by pass-through openings, open counters, and half height partitions.” (http://www.nyc.gov/html/hpd/downloads/pdf/new-constrguidelines.pdf)

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“Plumbing and ventilation chase walls should be shared where possible, but not at the expense of the design.” Kitchen equipment must consist of a 30” range, refrigerator (14 c.f. min), 24” sink, base cabinets with countertop and wall hung cabinets. In 1 to 3 family homes, provision for dishwasher and hook-ups should be provided for the homeowner.

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“Countertop work surface should be located on both sides of the sink and both sides of the

range.”

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“Base cabinets and countertops must be 2’-0” deep. Shelving must be 111/2” deep.”

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Pantries are desirable, encouraged, and qualify as required shelving.

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As of the Dining Area the same source explains that “every dwelling unit must contain a space for dining, which accommodates a table and chairs for the intended maximum number of occupants.”

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For Bathrooms “every dwelling unit must contain at least one full bathroom containing a bathtub with showerhead, a sink, and a toilet. Compartmentalizing the bathroom, to enable simultaneous use by more than one person, is encouraged.”

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Storage is an essential component of design.

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“Every dwelling must contain a coat closet that is convenient to the entrance and is at least 2’-0” deep and 3’-0” wide.”

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“Every bedroom must contain a clothes closet that is at least 2’-0” deep and 5’-0” wide. Every dwelling unit must contain storage for linens that is at least 1’-6” deep and 2’-0” wide. “

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Additional general storage space, such as a walk-in-closet, should be provided within each dwelling, especially for units with more than 2 bedrooms.

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Planning and Practical Considerations Adaptable for the Interior Environment

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“Scale, balance, and rhythm are the underappreciated parts of most decorating schemes” (New Decorating Book 2007). It is because so much focus is placed on color, patter, and texture that it’s easy to forget that the three other elements are at work in every decorating plan.

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“Flexibility is playing and increasingly important part in contemporary interiors” (Gibbs, Interior Design 2005) and while there is much to be gained by opening up spaces to maximize light and living space, it is now understood that discreet and private areas are also sometimes needed within a home or working environment.

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Sometimes a designer will look to separate an area of a large space without actually isolating it, through the careful placement of furniture or the installation of low or threequarter-height walls with openings that allow light to filter through communication to take place between the two areas”

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Gibbs further explains “Designers will employ visual tricks to increase the feeling of space or magnify small rooms.” This can be achieved by removing or scaling down details such as cornices, which define corners and can sometimes appear to cramp the space, can expand the perceptions of space. Conversely, positioning one over-scaled

piece of furniture in a small room can often increase the perception of space, since arrangements of smaller furniture; art and lamps can often be distracting to the eye. •

“For the designer who is well-versed in the principles of design, it is often a case of looking for ways to effectively blur the boundaries between traditional classical style and modernism or oriental style. So often, less or more, and the simpler the design, the more timeless and satisfying it is likely to prove.”

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Gibbs also pointed out the different principles of design that are important. One of which is contrast, which could be introduced into interiors in many different ways: for example, “contrast of form whereby different shapes, heights and sizes are introduced into a space; contrast of colour (even the most monochrome scheme needs some point of contrast to sharpen it up); contrast of texture; and contrast of light and shade”.

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Another principle of design is rhythm and repetition. “Too many disparate and disjointed elements in a space can be disquieting to the mind’s eye and a designer can make use of rhythm and repetition of recurring spacing of identical objects along a linear path; a series of repeated architectural elements, such as columns or pilasters or a strong line of identical windows; or repetition of smaller details such as pictures with identical frames or decorative objects displayed in evenly spaced dramatic groups.

On Flooring Flooring is the general term for a permanent covering of a floor, or for the work of installing such a floor covering. Floor covering is a term to generically describe any finish material applied over a floor structure to provide a walking surface. Both terms are used interchangeably but floor covering refers more to loose-laid materials.

Materials almost always classified as floor covering include carpet, area rugs, and resilient flooring such as linoleum or vinyl flooring. Materials commonly called flooring include wood flooring, ceramic tile, stone, terrazzo, and various seamless chemical floor coatings. Soft coverings Carpet is a floor covering woven or felted from natural or man-made fibers. Fitted carpet is attached to the floor structure, extends wall-to-wall, and cannot be moved from place to place. An underlay can extend carpet life and improve comfort. Rugs are also woven or felted from fibers, but are smaller than the room in which they are located, have a finished edge, and usually lie over another finished floor such as wood flooring. Rugs may either be temporarily attached to the flooring below by adhesive tape or other methods to prevent creep, or may be loose-laid.

Hard flooring Ceramic tile includes a wide variety of clay products fired into thin units which are set in beds of mortar or mastic with the joints between tiles grouted. Varieties include quarry tile, porcelain tile, terracotta tile, and others. Many different natural stones are cut into a variety of sizes, shapes, and thicknesses for use as flooring. Stone flooring is usually set in mortar and grouted similar to ceramic tile. Slate and marble are popular types of stone flooring. Terrazzo consists of marble or other stone aggregate set in mortar and ground and polished to a smooth surface.

Wood flooring Many different species of wood are fabricated into wood flooring in two primary forms: plank and parquet. Hardwoods are typically much more durable than softwoods. Reclaimed lumber has a unique appearance and is green. (http://en.wikipedia.org/wiki/Flooring) “Floors are the hardest-working surfaces in your home. They are expected to cope with the pounding of innumerable footsteps, plus take the drops and spills of everyday life. Not only do they work hard, but we want them to look good, too. After all, floors can make the difference between a dull and sparkling room.” (Callery, 1001 Ideas of Floors 2008) She points out the convenience of today’s technologies and states, “The good news is that today’s flooring materials are up to the task, and they are available in an incredible range for us to choose from. She adds, “Another advantage is that thanks to technological improvements, these flooring materials are easier than ever to buy and install.” Callery also guides readers in the process of choosing the appropriate flooring and teaches, “Your first step should be to identify the material that are compatible with your house. A house is part of an environment, and if it doesn’t incorporate local materials it can seem out of place.” In addition, she also says to consider the style of the building and to ask questions like “What are the design guidelines?” For example, the contemporary stylist might consider exotic woods, natural looks in stone, or ultra-modern materials such as rubber or terrazzo. In contrast to what Callery has been discussing in her book, she believes that “such guidelines do not have to be strictly followed”. She explains, “We can choose which elements to

include and evolve your own eclectic style that suits your character and lifestyle, as well as your environment and the existing or planned décor. However, adjacent rooms should be in harmony, so that the transition between different parts of the house is not jarring.” The next step is to consider the needs to each room, in terms of “practicability and style”. Durability is also one consideration. “High-traffic rooms, such as entrance halls and kitchens take a daily pounding and some materials (lesser quality carpeting, for example) can’t cope. Floors are tricky and expensive to install and you don’t want to have to repeat the laborious process every couple of years.”

LOCAL LITERATURE

On Color Color works magic. In the hands of artful users, color creates optical illusions, making small spaces appear smaller. Color affects mood, making cluttered rooms seem serene and dull interiors more dramatic. It influences opinions – sometimes eliciting warm approval, at other times evoking alienating discontent. Color sells, or prevents sales. Publishers and editors of magazines anguish over the color of their covers in every issue. Retailers know that window-display colors either can attract or repel customers. Color has the potential to make or break the atmosphere in your house. Color is both an art and a science; it affects emotions and can be measured and defined. As a designer, everything you need to know about color you probably did not learn in kindergarten. The experimentation that children do with prisms and paints is fun, but it doesn’t tell you the environment you want. Although you probably realize that there’s more to color than

the mega-pack of crayons you had when you were a kid, you may still not know exactly what color is. Color is every perceived hue between white and black- the two non-colors- fro red (the longest wavelength in the light spectrum) to violet (the shortest). When light waves hit an object that is white, all of the waves are reflected back. On the other hand, when light waves hit an object that is black, the absorbs all the light waves and sends no waves back. In other words, what appears to your eye as white is really the combination of all the wavelengths of light blended together. And what appears to your eye as black is really the absence of all these wavelengths. The combination of white and black makes gray- the third neutral. On Meaning and Mood Color selection can be one of the most enjoyable projects of the decorating experience. Who doesn’t love to experience color – the excitement of red, the richness of purple, the exuberance of orange? But color can be confusing, because we experience it in its cultural, aesthetic, and personal contexts, which, when taken together, can feel like a tangled web. Thanks to Mother Nature, some color laws do exist. But realizing that ideas and opinions about color are a mix of inborn, natural responses and learned cultural responses is also helpful when choosing which colors to use. These responses vary from place to place, from time to time. In your own home, what color means to you and your family is extremely important. But the opinions of your friends and neighbors undoubtedly carry some weight. Expect your own ideas about color to change as you move, age and grow aesthetically. Two Universal truths about color can serve as the foundation for all of your color decisions: Warm colors (those on the red side of the color wheel) communicate warmth and relaxation that’s associated with warmth, informality, closeness, and intimacy. They seem to

advance toward the viewer. Intense highly saturated warm or hot colors such as red and orange stimulate and excite. Cool colors (those on the blue side of the color wheel) connote alertness, formality coolness, reserve and emotional distance. The following is a rundown of some common colors. Black Traditionally, black represents darkness, despair, sorrow, mourning, formality and solemnly. The idea about black is that is the epitome of mystery and style. Black is best used in restricted amounts – are accents or accessories – and in rooms that aren’t used frequently or for long periods of time. Black absorbs light, when it is used in large amounts. White Traditionally, white stands for peace, purity, faith, joy, and cleanliness. White, unlike black, can be used in large amount without seeming overwhelming. Predominately white color schemes look modern and fresh. Gray Gray, a non-color, is a somber shade that suggests humility and penance. Gary is cerebral shade and emphasizes spiritual and intellectual values over sensual ones. Too much gray can look monotonously boring and dull instead of chic. On the positive side, gray is an easy-to-live with neutral that makes a good backdrop for other appropriate accent hues. Red Red stimulates and energizes. The hottest warm hue, red is associated with danger, tension and excitability. Various reds symbolize passion, anger, warmth, gaiety, martyrdom, and revolution. Red increases desire, excitability, domination, and sexuality by increasing circulation and raising the heart rate. A welcome counter balance to neutrals, red adds life and sparkle.

Some designers are calling very dark shades of red, the newest neutral. Red should never be used in large quantities in environments where a sense of peace is necessary. Orange Orange has some of the effects of red, but a lesser degree. Orange stands for force of will and is considered an active and competitive color. Widely used in fast food restaurants, orange tends to make people eat fast and leave quickly. Softer oranges are welcoming and pleasing, adding warmth and energy to a neutral or cool décor. Yellow The subtlest of the warm colors, stimulates and energizes in a positive, non-aggressive way. Yellow conjures feelings of warmth, cheerfulness, and fruitfulness. Traditionally, yellow represents spontaneity and is active, projective, expansive, and aspiring. Yellow increases joviality. Tints based on yellow (such as cream and beige) are safe neutrals. Overuse of yellows, or failure to balance it with more substantial hues, can create a sense of shallowness or a lack of seriousness. Green Green suggests hope, restfulness, and calm and is the color of defense and flight. Green connotes elasticity of will and reinforces self-esteem. Green has even been known to slow down heart rate and circulation. Green is a favorite for creating calm and restful balanced color schemes. Blue Blue, the coolest of the cool colors, depresses the nervous system and makes the body ready for nodding off to sleep. This hue has come to stand for depth of feeling and is associated with sensitivity, perception, and unification. Purple

Violets and purples, the cool colors closest to warm, are associated with justice and royalty, and interestingly enough, depression and suffering. Considered unsafe risky colors, violets tend to convey uncertainty and ambiguity. On Relating Colors Color expresses character, establishes mood, and creates a variety of visual effects. Color selection, however is not as simple as just picking out things you like in colors you like. The successful color scheme is whole-house scheme – one that provides a sense of harmony throughout. If you enjoyed only one mood, it would be easy to pick the color to match that mood and use it for all of your decorating needs. But people, life, and decorating are a little more complex. Seldom is one color used alone; instead, colors are used in combinations. A pleasing combination of colors is called a color scheme. Two very easy color schemes work well for small- to medium-sized homes: •

The first, a monotone scheme, calls for using the same background color throughout and switching accent colors from room to room for variety. This technique creates the greatest sense of continuity and unity and generally makes a house seem larger.

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The second approach, the positive/negative color scheme, gets its name from positive and negative film. In this scheme, one room uses a light background and a dark accent color and the adjoining room flip-flops, using the dark color background and the light color as an accent. In this way, the same colors are used for (continuity), but in different amounts (for variety).

On Living with Lines Whether vertical, horizontal, diagonal, or curvy, lines create movement and establish mood. Line can be implied by points that the eye naturally follows or by planes and surfaces that

come together. Line can also be denoted by stripes of any thinness or thickness, direction, length , and orientation. Lines used together create various effects, including focal points and a sense of rhythm, as well as pattern. Lines occur in architecture (doors, windows, columns, arches, plank paneling, and flooring). They are often real and sometimes perceived. Furniture can make a room look very busy. Too few lines (in a room without pattern) leave a room looking a little empty. After you’re aware of line and have some idea of what should it should and should not be doing, you’ll better equip to keep line under control. The following sections explain the different kinds of lines.

On Straight Lines Straight lines are strong, masculine and static. The eye sees very quickly where it is going, and after it is there, it stops. Straight lines come in three forms: vertical, horizontal, and diagonal. •

Vertical lines draw the eyes up and down, producing alertness. Vertical lines also suggest stability, dignity, and formality. A too-vertical room isn’t restful. So if you’re faced with this problem, introduce some horizontal lines in window treatments, furniture, and accessories.

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Horizontal lines move the eyes from side to side, creating a sense of restfulness. Horizontal lines are less formal and more relaxed and are associated with the physical rest. A room with too many horizontal lines may put you to sleep! Wake up a too relaxed room with vertical lines – maybe in the form of striped wallpaper.

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Diagonal lines promote rapid movement of the eyes and suggest fast movement in general. Used in excess, diagonal lines can be not just dynamic, but downright disturbing!

For a restful dining room, avoid dynamic diagonal lines (often found in newspaper). Use diagonals in entry halls, or wherever you don’t want people to linger.

On Distribution Distribution refers to the placement, location and arrangement of each room-unit in relation with each other as to functions and coordination. One particular example is the relation between dining and the kitchen which primarily requires accessibility for food servicing. They should not be placed apart not far away from each other. On Circulation Like roads and highways, traffic is also present in the house. The circulation and movement of the occupants inside the house should not be hampered by any obstacles or detour as a result of poor planning. In short, the design of the floor plan of a house must solve the traffic inside the house without the necessity of using a red and green light signal. On Light and Ventilation There is no substitute for a good daylight and fresh natural air entering and circulating inside the house. Artificial light and ventilation is very costly to those who cannot afford but, others prefer it for maximum comfort and efficiency of their work. The design therefore depends upon the likes and preference of the owner.

On Areas’ Sizes and Shapes All rooms shall be planned according to human scale. Provide ample areas to accommodate furniture, appliances, and other related facilities including the most critical and important lane or pathways for routinely movement inside the house. The shape as to plan and elevations shall be functional and not fancy in character. On Orientation Orientation refers to the position and direction of the sunrise and sunset. It also includes the prevailing wind directions in the area for the year round. A brief nap or rest at mid-day or in the afternoon is normally done in the bedroom. Thus, bedroom should not be oriented facing the afternoon sun. The kitchen, laundry and bathroom is better oriented west for sunlight to kill many types of bacteria. On Zoning Laws The zoning ordinance should be consulted first before deciding on the final site of the house for you might be constructing your residential house in an industrial or commercial zone. On Height A moderate high ceiling contributes largely to a comfortable atmosphere and aesthetic value of the room. A room with a very low ceiling has a warm atmosphere which requires artificial ventilation. On Electricals

Although this is secondary aspect of planning a residential house, was included because common errors were committed when the location of this particular facilities are not studied. The location of the convenience outlet should be planned simultaneously with the appliances to be placed on. The extension wire for appliances is the most unsightly obstacles in the room due to improper convenience outlets. On the Living Room The kind of furniture, furnishings and the manner how they are arranged in the living room offers that feeling of grandeur and an inviting atmosphere. Furniture arrangement in the living room however, can be developed to suit any particular choice which a designer may be confronted. Furniture may vary from what will be presented in this study to changes in style depending upon the individual taste and preferences. In any furniture grouping, a minimum distance should be considered and established for convenience such as: 1. Space Allocation 2. Lanes or pathways between furniture On the Dining Room The Dining room is the place or room where the family sits together, pray before meals and talk about family affair including other matters. Dining area shall accommodate furniture of either portable or built in for eating, sitting, serving and possible storage. On Combined Living-Dining Spaces

The combination of living-dining area in a single room has the following advantages: 1. Less space is required but could be used intensively 2.

Its function could be changed making it more flexible and serviceable space

3. Adaptable to varied furniture arrangements 4. The room could be made more interesting On Combined Dining-Kitchen Area This type of combination is most preferred by occupants of small house and apartments due to the following advantages: 1. It minimizes housekeeping chores 2. Provides a space for the family’s day to day activities 3. The kitchen provides a place for informal family eating like breakfast, snacks or just serving tea or coffee to visitor. On the Bedroom The size and area of a residential house could be visualized imaginarily by anyone based from the number of bedrooms. The size of the room is determined by the following considerations: a) The likes and preference of the occupant is either large, medium or small room with or without comfort room. b) The type and number of bed including other items that the owner wants to place inside the room. On the Utility System

“The goal of lighting is to create an efficient and pleasing interior. These two requirements, that is, the utilitarian and aesthetic, are demonstrated by every good lighting design. Light can and should be used as an adjunct architectural material.” (Salvan, Architectural Utilities) Lighting levels should be adequate for efficient seeing of the particular task involved. Variations within acceptable brightness ratios in a given field of view are desirable to avoid monotony and to create perspective effects. Lighting equipment should be unobtrusive, but not necessarily invisible. Fixtures can be chosen and arranged in various ways to compliment the architecture or to create dominant or minor architectural features patterns. Fixture can also be decorative and thus enhance the interior design. Lighting must have the proper quality.

Accent lighting and other highlighting

techniques increase the utilitarian as well as architectural quality of space The entire lighting design must be accomplished in terms of capital and energy resources; the former determined principally by life – cycle costs and the latter by operating energy costs and resource – energy usage. Both the capital and energy limitations are to a large extent, outside the control of the designer, who works within constraints in these areas. Direct Lighting is when the light in the illuminated area is “focused downward coming directly from the lighting fixture”. On the otherhand, Semi-Direct Lighting is when the “prominent light on illuminated area is fed directly from the lighting units wherein the greater amount of light is obtained from the ceiling through reflection.” Semi-Indirect Lighting is a lighting arrangement wherein 5% to 25% of the light is directed downward with more than half of the light focused upward and reflected

from the ceiling.” Lastly Indirect Lighting happens when a light is diffused and reflected from a wide ceiling area. This kind of lighting produces a soft and subdued effect due to low brightness and absence of sharp shadows.

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