Your ability, enthusiasm to learn, creativity and exposure are different factors that make learning interior designing a simple or difficult task. This article helps us understand the basic elements of interior designing that would aid us to further research them completely to enhance your perspective and ability in the world of interior design. Let us start with suggestions on starting with the research. A good starting point for these newbie interior designs can be shows on televisions that are specific to books, subject, magazines and other professionals on interior designs and so on. The other source that doesn't have any limits in exposure and for no cost except for the time is your eye. Eyes are excellent tools for learning and understanding interior design and also for applying it successfully. Eyes become a terrific resource as eyes are similar to ears in the symphony of interior design. Eyes have the potential to look at any design element and transfer the information to the brain considering all the colors present in the design, layout, and textures and if the overall look is pleasing. Mastering the potential to look at a specific scenario or setting and explore the key elements involved in its success visually, you are still huge steps ahead in the learning journey of interior design.
Get an example of a design that has a pleasing appeal to your eye. Such designs can be found in magazine, book or even in our day-to-day life. When you close and open your eyes, the first thing or item you look at would be considered as your focal point. In magazines or televisions discussions, it is wrongly referred that the focal point is already appointed which is not true. For one, the view of a room might give a distinct thought and for others, they might stare at the fire mantle for their warmth and being a secure place and for different people their focus point would change accordingly. The point of focus in a room is that area of the room which attracts your attention on getting into the room and other placement activities happen on the area of the focal point. Lot of strategic planning is based on this focal point when we plan for a creative layout for the room. Hence, understanding the importance of the focal points is instrumental in interior design learning.
Certain structural and architectural parts of the room need more attention in comparison with others. This is one reason which makes people understand incorrectly the focal points concept. In the process of learning and understanding interior design, you also understand how important it is to balance the architectural focal point understanding and the living ones. Some people do naturally elevate towards various objects and activities in the room. Human element and basic understanding are both the key element for success in interior design.
After you have go the basic to a medium level of understanding of the various focal points and the items placement around these places, the other important aspect of learning interior design is representing the objects visually. Shape, texture and color are the basics of this category. Color is the way the light reflects off when you see an object on to your eyes. How do you feel the object visually is texture. The fundamental makeup of the object that is reflected visually is Shape. Right combination of these features would result in harmonious environment visually. The few terms that we need acquaint ourselves as a process of interior design are listed further. First terms that pops up in your mind is 'Gaudy' is a room or space with colors represented boldly, an excess usage of textures and overuse of untraditional and modern shape are all the reasons that would cover this title. The term 'Simple' is used to refer the use of neutral and light scheme of colors along with little interruptions of straight line and light textures. The basic element for a successful design mix would be the term 'Simple'. Start in a simple manner and build it to match your level of comfort complexities. This part of interior design wouldn't flow as naturally as other when you start learning interior design. It's very likely that it would be more understanding that one will develop along with the time and kind of exposure he get to various aspects of interior design.
Senin, 31 Juli 2017
Rabu, 12 Juli 2017
The History of Modern Design: Expert Advice From One of the Best Interior Designers
Design is all around us, whether we are aware of it or not. Any time a human being has applied paint to a pot, adorned a garment, or manipulated a surface to make something utilitarian more pleasing, design has happened.
As societies and civilizations have developed and changed, the definition of what is beautiful changes too. The rich and ornate baroque of the 16th century led to the lighter, more refined and neo-classically influenced style of the 17th century. What once was thickly carved and often gilded became a softer, painted surface, with less elaborately carved details, still highlighted in gold leaf perhaps, but not so extravagantly.
In the last part of the 19th century, the heavy and pervasive ornamentation of the Victorian era led to a reactionary series of design movements that stripped away the layers of color, pattern and texture of that time and asked the world to look at things with new, more informed eyes.
The Arts and Crafts movement, which had a strong beginning in England during that time, fostered sympathetic colonies of artists, craftsmen, architects and designers in America and Europe. As a reaction to the mass-produced products of the Victorian age, these groups encouraged the hand-wrought object and venerated the individual artist, who often found inspiration in motifs of the natural world.
But things took a major shift at a remarkable school in Weimar, Germany. Called the Bauhaus, it was a place where all the old means of learning were thrown out and the students were taught to look at the world from the most basic elements of color, shape and form, as well as the nature of materials - wood vs. steel vs. glass, etc. In addition, they studied the function of an object or building, before applying any form or style to it. It was a remarkable time and place, with the most energetic and passionate individuals coming together.
Within those plain walls a rich design stew was concocted. For instance, furniture was formed out of bent chromed steel tubes with wicker seats. These chairs are still in the designer's lexicon and are still looking crisp and new. Pottery and china, silver serving pieces, woven and printed fabrics, typography and ultimately architecture too were the curricula of this remarkable place.
Artists that taught in the school are names that are familiar: Klee, Albers and Kandinsky. Architects Gropius and van der Rohe headed the school at different times.
Many of the faculty ultimately came to this country as Europe and Germany became less hospitable to artists and other free-thinkers. They settled in design and architecture schools, and had a profound influence on the development of cities, buildings, and interiors and what we have come to call Modern Design.
One of the things that Modern Design has done is open up the box that is the room, both literally and figuratively. A great example of this is the use of glass. Glass is now able to be made in large sheets, and in contemporary homes and buildings sometimes the entire wall surface is glass. Other materials such as steel and concrete are used in similarly innovative ways.
When we think of Modern Design we think of bright, open spaces, often lightly colored, and embellished with furnishings that are simple but bold of line, and art that is colorful and strong. In Modern Design, fewer pieces are used but each piece has its own interesting character and uniqueness.
Sometimes, whole rooms are created with all new and custom furnishings, with each piece being designed for that particular client or project. These rooms, as period rooms from other ages, have a consistency and cohesiveness that is special and powerful. One can think of great rooms in museums or mansions, where all the furnishings are from the same period, and they have a powerful richness and satisfaction. New rooms can have this same strength where all the furniture, rugs, lighting and art are created and assembled to make an environment that is greater than the sum of its parts.
If you are ever in Chicago, try having lunch in the restaurant in the modern art wing of The Art Institute and you will see how fabulous a tightly designed room can be. This recent addition is by the internationally acclaimed Renzo Piano and the restaurant is named for him. The room is one of those places where every surface and fixture is just right. All glass and white with a pale wide plank oak floor, the expansive space is subdivided by graceful banquettes, the tables are topped with pale white resin slabs, the china and silver are all simple, unique and contribute to the experience. The ceiling is simple and plain, and provides lighting, ventilation, sprinklers, speakers and security, and yet is detailed in such a masterful fashion that one is unaware of all those necessities unless you look for them. These sorts of experiences inspire designers to continue improving and refining what we do as well.
As societies and civilizations have developed and changed, the definition of what is beautiful changes too. The rich and ornate baroque of the 16th century led to the lighter, more refined and neo-classically influenced style of the 17th century. What once was thickly carved and often gilded became a softer, painted surface, with less elaborately carved details, still highlighted in gold leaf perhaps, but not so extravagantly.
In the last part of the 19th century, the heavy and pervasive ornamentation of the Victorian era led to a reactionary series of design movements that stripped away the layers of color, pattern and texture of that time and asked the world to look at things with new, more informed eyes.
The Arts and Crafts movement, which had a strong beginning in England during that time, fostered sympathetic colonies of artists, craftsmen, architects and designers in America and Europe. As a reaction to the mass-produced products of the Victorian age, these groups encouraged the hand-wrought object and venerated the individual artist, who often found inspiration in motifs of the natural world.
But things took a major shift at a remarkable school in Weimar, Germany. Called the Bauhaus, it was a place where all the old means of learning were thrown out and the students were taught to look at the world from the most basic elements of color, shape and form, as well as the nature of materials - wood vs. steel vs. glass, etc. In addition, they studied the function of an object or building, before applying any form or style to it. It was a remarkable time and place, with the most energetic and passionate individuals coming together.
Within those plain walls a rich design stew was concocted. For instance, furniture was formed out of bent chromed steel tubes with wicker seats. These chairs are still in the designer's lexicon and are still looking crisp and new. Pottery and china, silver serving pieces, woven and printed fabrics, typography and ultimately architecture too were the curricula of this remarkable place.
Artists that taught in the school are names that are familiar: Klee, Albers and Kandinsky. Architects Gropius and van der Rohe headed the school at different times.
Many of the faculty ultimately came to this country as Europe and Germany became less hospitable to artists and other free-thinkers. They settled in design and architecture schools, and had a profound influence on the development of cities, buildings, and interiors and what we have come to call Modern Design.
One of the things that Modern Design has done is open up the box that is the room, both literally and figuratively. A great example of this is the use of glass. Glass is now able to be made in large sheets, and in contemporary homes and buildings sometimes the entire wall surface is glass. Other materials such as steel and concrete are used in similarly innovative ways.
When we think of Modern Design we think of bright, open spaces, often lightly colored, and embellished with furnishings that are simple but bold of line, and art that is colorful and strong. In Modern Design, fewer pieces are used but each piece has its own interesting character and uniqueness.
Sometimes, whole rooms are created with all new and custom furnishings, with each piece being designed for that particular client or project. These rooms, as period rooms from other ages, have a consistency and cohesiveness that is special and powerful. One can think of great rooms in museums or mansions, where all the furnishings are from the same period, and they have a powerful richness and satisfaction. New rooms can have this same strength where all the furniture, rugs, lighting and art are created and assembled to make an environment that is greater than the sum of its parts.
If you are ever in Chicago, try having lunch in the restaurant in the modern art wing of The Art Institute and you will see how fabulous a tightly designed room can be. This recent addition is by the internationally acclaimed Renzo Piano and the restaurant is named for him. The room is one of those places where every surface and fixture is just right. All glass and white with a pale wide plank oak floor, the expansive space is subdivided by graceful banquettes, the tables are topped with pale white resin slabs, the china and silver are all simple, unique and contribute to the experience. The ceiling is simple and plain, and provides lighting, ventilation, sprinklers, speakers and security, and yet is detailed in such a masterful fashion that one is unaware of all those necessities unless you look for them. These sorts of experiences inspire designers to continue improving and refining what we do as well.
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