AKENTEN APPIAH-MENKA UNIVERSITY OF SKILLS TRAINING AND

ENTREPRENEURIAL DEVELOPMENT

(AAMUSTED)

DEPARTMENT OF FASHION DESIGN AND TEXTILES EDUCATION

THE USE OF BATIK AND TIE-DIE FOR INTERIOR DECORATION. A CASE IN

KUMASI

COMFORT ASAMOAH

5191290078

NANA AKUA ASANTEWAA

5191290074

NINA SARAH BONNEY

5191290114

2023

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 CHAPTER ONE

INTRODUCTION

1.1 Background to the Study

Interior design is the creation of interior environments that support the function, aesthetics,

and cultures of those who inhabit, live and thrive in interior spaces. It enhances the well-

being of people who live, work and play in those interiors as well as protects their health,

safety and well-being (Clemons, 2017).

Interior design according to Kasavana and Brooks (2005) describes a group of various yet

related projects that involve turning an interior space into an effective setting for the range of

human activities that are to take place there It is the arrangement of line, direction, form,

shape, colour, and texture and arranging them aesthetically and tastefully. Interior decoration

is the art of creating a pleasant atmosphere in the living room with the addition of a complex

of furnishings, art, and crafts, appropriately combined to achieve a planned result or design.

These arts and crafts have to be well maintained by the housekeeping department. Decorating

flowers is a creative and stimulating art which often carries a message or theme. Flowers and

indoor plants add colour and beauty to a room.

It is of two types; (a) Structural design and (b) Decorative design (Kasavana & Brooks,

2005).

Structural design is suitable to the purpose for which the objects are made. All objects have

structural design. It must fulfil the following requirements:

(a) Design must be suited to its purpose

(b) It must have correct proportions

(c) It must be simple

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 (d) The material used must be suitable to its purpose.

Decorative design makes the structural design more beautiful. A design added to increase the

beauty of an article is called decorative design. It requires:

(a) Decoration must be used in moderation

(b) It should be placed at structural points to strengthen the shape of the object

(c) It should enrich and not interfere with the structural design.

A design should not only be beautiful but also have individuality, character, style and utility

e.g.-chair. Interior design has been in existence since Mesopotamia during the early dynastic

period (c. 3000 to 2350 B.C.) and currently still in existence. Design is a general way of

making sense of things people see, interact with, or perceive in their environment ( Abbott &

Lewry, 2019).

This study seeks to evaluate interior decoration and to elaborate on the history and current

trends in interior design and the possible use of batik and tie dye in interior designing in

Kumasi and Ghana as a whole. The study is to enlighten Ghanaians on the benefits of

accepting the use of batik in interior decoration and to promote the textile and to bring

diversity in the current way of home decoration in Ghana.

1.2 Statement of the Problem

Until the last decade, the tie and dye business in Ghana was doing well. Some of the producers were

in good business and exporting their products as well. The wearing of tie and dye and batik became so

common that you could encounter many people at different places wearing the fabrics. People started

calling themselves in the Ghanaian language as “wo ye me nua” meaning we are siblings. The fabrics

were then named after ‘Adwoa Yanki’, a song by C.K Mann, because the song had also become

popular.

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However, in modern Ghana, the use of the textile batik and tie-dye is mostly not considered

for interior decoration. The use of foreign textile fabrics for interior decoration is prevalent.

This study is therefore to find ways of introducing batik for interior decoration to enhance

standard of living and also benefits textile producers in Kumasi and Ghanaians as a whole.

1.3 Purpose of the Study

The purpose of this study is to investigate the use of batik and tie-dye in Ghana, and to

sensitize citizens to use locally made fabrics for room decoration.

1.4 Objectives of the Study

The specific objectives of the study include the following:

1. To find out the perception of people towards the use of batik and tie-dye in interior

decoration in Kumasi.

2. To examine the challenges and barriers encountered in the use of batik and tie-dye for

interior decoration.

3. To design and make batik and tie-die apparels purposely for interior decorations

1.5 Research Questions

1. What is the perception of people towards the use of batik and tie-dye in interior

decoration in Kumasi?

2. What are the challenges and barriers encountered in the use of batik and tie-dye for

interior decoration?

3. What interior decorations can be made purposely from batik and tie-die products?

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1.6 Significance of the Study

This study will go a long way to help promote made-in-Ghana textiles and allow Ghanaians

to value batik products and bring diversity in interior design. The study will also help to

generate revenue and promote the economy of Ghana. It will also serve as a guide in

suggesting the use of batik and tie-dye in interior decoration.

1.7 Limitation of the study

Financial constraint was a major limitation during the research period. There was also

unwillingness to cooperate to give out certain information on the part of respondents.

1.8 Delimitation of the Study

There exist numerous locally made apparels in Ghana which can also be subject to study in

interior designing. However, this study is delimited to investigating the use of batik and tie-

dye in Ghana, and to sensitize the general populace to use locally made fabrics for room

decoration.

1.9 Organization of the Study

This study has been organized into five chapters. The first chapter, being the introductory

chapter consists of the background, statement of the problem, purpose of the study, objectives

and significance of the study. Following this chapter is chapter two, which contains the

literature review. The third chapter describes the materials and methods used in making the

artefact. The fourth chapter presents the results or findings and analysis. The final chapter

provides a summary, conclusion and recommendations.

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 CHAPTER TWO

LITERATURE REVIEW

2.1 Introduction

This chapter talks about Interior designing and designer, Modern textile, Batik and its uses,

space planning, and soft furnishings.

2.2 Interior Designing and Designers

Swanson (2010) states “Interior Design is made up of five separate but equally crucial

elements: line, form, colour, pattern and texture. These five elements and how closely or

loosely they interact with one another, make up a design’s overall composition”.

There is nothing magical about good design. Anybody can achieve it, although as with any

other skill it takes practice to develop and train the eye, the mind and the memory. This

process involves making notes, experimenting on paper, playing with colour, looking at what

others have done and adapting good ideas to your own taste and circumstances. This is

equally true of the practical skills of home decorating, and the more experience you gain the

more professional you become. However, even a beginner can produce a workmanlike result

by reading the instructions at the start, following them carefully and taking time and patience

to get the small details right (Philips, 1998).

Alozie (2017) writes “interior decoration is the dual art of planning and producing the interior

of structures on a basic function, comfort, convenience and aesthetic appeal (Ford, 2000).

The professional interior designer and decoration through training and experience plans

design and decorates materials which are used for the furnishing of interior, homes, houses,

commercial institutional structures, hotels clubs, theaters , restaurants and other public places

(Alan, 2001). Interior decoration is a multifaceted profession that includes conceptual

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development, communicating with the stakeholders of a project, the management and

execution of the design techniques on fabric are mostly the items used to ignite beauty and

excitement in the interiors of the home (Cullen, 2002).In the modern society, interior

decoration of the home goes beyond decorating only with our commonly used flowers and

ornamentals in the sitting room, but involves the entire rooms such a s living room, kitchen,

bathroom, toilet and bedrooms using different types of decorative material. In planning and

designing for interior decoration in the home one must basically consider the content of

quality design for the person and purpose of decoration (Ford, 2000). The decoration of the

interior of home provides a revealing portrait of its inhabitant. Also, interior decoration in the

home is the service of human needs (Alan, 2003).

A combination of art, science and technology, interior design in practice, manipulating space,

form, texture, color, and light to enhance the quality of human life. The professional interior

designer is qualified by education, experience, and examination to enhance the function and

quality of interior spaces for the purposes of improving the quality of life, increasing

productivity, and protecting the health, safety, and welfare of the public. It is a distinct,

creative professional field closely allied with other design professions (Kilmer and Kilmer,

2014).

She also states that interior design includes a scope of services performed by a professional

design practitioner. These services may include any or all of the following tasks:

 Research and analysis of the client’s goals and requirements; and development of

documents, drawings and diagrams that outline those needs

 Formulation of preliminary space plans and two and three dimensional design concept

studies and sketches that integrate the client’s program needs and are based on

knowledge of the principles of interior design and theories of human behavior.

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 Confirmation that preliminary space plans and design concepts are safe, functional,

aesthetically appropriate, and meet all public health, safety and welfare requirements,

including code, accessibility, environmental, and sustainability guidelines.

 Selection of colors, materials and finishes to appropriately convey the design concept

and to meet socio-psychological, functional, maintenance, lifecycle performance,

environmental, and safety requirements.

 Selection and specification of furniture, fixtures, equipment and millwork, including

layout drawings and detailed product description; and provision of contract

documentation to facilitate pricing, procurement and installation of furniture.

 Provision of project management services including preparation of project budgets

and schedules.

 Preparation of construction documents, consisting of plans, elevations, details and

specifications, to illustrate non-structural and/or non-seismic partition layouts; power

and communications locations; reflected ceiling plans and lighting designs; materials

and finishes; and furniture layouts

 Preparation of construction documents to adhere to regional building and fire codes,

municipal codes, and any other jurisdictional statutes, regulations, and guidelines

applicable to the interior space

 Coordination and collaboration with other allied design professionals who may be

retained to provide consulting services, including but not limited to architects;

structural, mechanical and electrical engineers; and various specialty consultants

 Confirmation that construction documents for non-structural and/or non-seismic

construction are signed and sealed by the responsible interior designer, as applicable

to jurisdictional requirements for filing with code enforcement officials

 Administration of contract documents, bids and negotiations as the client’s agent.

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  Observation and reporting on the implementation of projects while in progress and

upon completion, as a representative of and on behalf of the client; and conducting

post-occupancy evaluation reports.

2.2.1 Interior Designer

A profession defined by sociologist as exiting when a specific set of characteristics can be

associated with it. According to Nicholas Abercrombic (1994), they are as follows:

i. The use if skills based on theoretical knowledge

ii. Education and training in these skills

iii. The competence of professionals ensured by examination

iv. A code of conduct to ensure professional integrity

v. Performance of a service that is for the public good

vi. A professional association that organizes members

An interior designer is a creative person who develops ideas into objects and environments

for other people to use or interact with. Although this may seem simplistic, the act of

designing is a complex combination of art and science. Interior design is involved with

creating or modifying interior environments, including the structure, the life-support systems,

the furnishings, and the equipment. In addition, the interior designer must deal with the

experiences, needs, and personalities of the people (or users) within. Working with lighting,

color, materials, human behavior, and accessories, the interior designer plans and organizes

interior spaces to serve specific needs (Kilmer and Kilmer, 2014). She differentiates an

interior designer and decorator saying, there are differences between the decorator and the

designer. Decorators are involved mostly with decorative surface treatments, accessories,

furniture, and furnishings and are not required to have a formal education, experience, or

national examination to work in the field.

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Piotrowski (2002) indicates that “a professional interior decorator does not emerge merely as

a consequence of learning the technical principles needed in the profession. To become a

professional also requires an attitude of dedicated commitment to the work one does and to

the advancement of the profession. In addition, he or she must have some understanding of

the history of the profession and the issues that are important in maintaining the vitality of the

profession. Understanding what it takes to organize and maintain an interior design practice

follows understanding the roots and contemporary concerns of the profession. Being a

professional also involves keeping oneself informed about the latest advances in the design

specialty in which one chooses to work. It also means learning to have a professional attitude

in one’s dealings with others in the industry and operating or working in a design firm as a

knowledgeable business person”.

2.3 Modern Textiles

Textiles today encompass a wide range of effects, techniques and ingredients that at first

glance seems very disparate: new fibres, fabric treatments or computer technology often

provide a starting point. Yet this diversity is underpinned by a network of shared interest in

detail, whether expressed as surface texture alone, subtle pattern and shading, or choices

based on the physical and chemical nature of individual elements that make up the total. In

this context “detail” does not mean fussiness, but instead places the desire for integrity at the

heart of all of the questions now being asked about fibre creation and processing, dyeing,

weaving, printing and designing. Reflecting this trend, the selection criteria for this, the first

volume of International Textiles Design, placed integrity of concept and instruction before

novelty; some makers and designers are well known, others are reaching an international

forum for the first time. Over thirty countries are represented, demonstrating the variety of

ways in which textiles-both as fabric and as an expressive medium - underpins the work of

the innovative designers, manufacturers and makers around the world.

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The significance of the growing recognition that industry and craftspeople have much to offer

each other, it can be argued that they always did, but the creation of opportunities for share d

interactive innovative has only become possible with the arrival of the third industrial

revolution, based on computer and information technology. The installation of computer-

aided design and manufacturing systems represents a departure from the linear progression of

the first and second industrial revolutions, which initially gave us mass production and then,

in the years 1945 and 1985, much higher speed standards but greater uniformity. Recent

development has reintroduced flexibility by eliminating the bottle – necks formerly created

by the design proofing, or sampling, and machine set-up stages; designs generated by

computer aided design (CAD) system can also be sold prior to production and can be used to

create colour separations and drive laser engravers. In addition, this new technology

facilitates exploration without restricting methods of production. Just some of the possibilities

are represented by the collaborations of Margot Rolf and Anne Hubel with ZSK, producing

seemingly one-of-a-kind embroideries on computer controlled machines: the hand weaves of

Jorun Schumann, who develops double weave design on computer: Dorte Ostegaard

Jaskobsen’s use of as computer to digitize photographs for silk-screen printing, and Diann

Parrott’s hand printed allusions to repeat created with a combination of computer-generated

photo stencils, repetitive body movements and string-grid systems.

The boundaries between low and high technologies have seldom been so blurred. There are

other indications that barriers have come down. The rapid response required by mainstream

fashion houses (which absorb close to half of all manufactured textiles) was the crucial factor

behind the first installation of quick, flexible computer aids,. This in turn has supported an

even great pace of fashion change (expressed to a large extent through varying the handle,

weight and character of the cloth) as well as the desire for less than gigantic production runs.

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Many textile designers now use working methods that suit both one off or medium-output

production so that fabrics once inclusive to couture collections are more widely accessible.

In blurred lines between scales of manufacturing is paralleled by a lack of distinction between

fashion and furnishing fabrics; for designers such as Kojii Hamai, the concept is “fabric”

rather than “function”. For others, such as Romeo Gigli, the concept resides in a particular

quality in the case of “Theodora” which was created first as a gauzy shirting, it was the

intriguing subtlety of the design that with the help of the Donghia Design Studio and mill,

was transferred to an upholstery-weight silk and linen cloth. Because concepts so often take

precedence, attempting to differentiate between functional and contemplative textiles can be

misleading, Isabella Whilworth, for example, produces painted silk scarves that are often

used as wall-hangings, no doubt because she does not see herself as a textile designer, but

rather as a painter who, responding to the ideas being explored, chooses the correct surface –

sometimes cloth, sometimes paper (Schoeser, 1994).

2.4 Batik and its uses

Campbell (1994) writes “Batik is an ancient method of applying coloured designs to fabric. It

is called a “resist” method because traditionally hot wax is used to penetrate the cloth to

prevent or “resist” the dye spreading to areas so protected. Rice paste or mud is sometimes

used instead of wax. Designs may be of one colour or of many colours, depending on the

number of times the resist are applied and the fabric is dipped into baths of different dyes.

Modern simple-to-use dyes allow the technique of “pool” batik to be practiced. In this

process wax is applied to surround complete areas of the fabric and to prevent the dye

spreading from one area to another, which means that colours can be used next to each other

to give result that would be more difficult to achieve by the traditional immersion method”.

He also states that Batik is undergoing for clothes and soft furnishings, the medium’s

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potentials is being explored and applied as a fine art, with artists seeking expression through

dye instead of paint. However, it is in Indonesia, especially with java that the batik enthusiast

goes to learn about the process and the art at first hand.

The word ‘batik’ was derived from the Javanese word meaning wax writing. It was based on

the process of resist, which was known to be an ancient method of applying design to porous

surfaces. Parts of the fabrics are covered with melted wax, rice, paste, and some other non-

water dissolve substance and the fabric is later submerged in, or painted with, various colours

of dyes.

The exact origin of batik is unknown, but thought to have existed for over 35,000 years, used

ubiquitously among Austronesian communities living in Southeast Asia, with applications on

woven cloths similar to tie-dye methods, to resemble resist patterns such as ikat, plangi and

tritik (Poon, 2017).

Since ancient times, dyeing has been employed to colour fabrics in both industry and arts and

crafts. Various dyeing techniques are practiced throughout the world, such as wax-resist

dyeing (batik dyeing), hand drawing with dye and paste (Yuzen dyeing), and many other

techniques (Polakoff 1971) and (Yoshiko 2002). Tie-dyeing produces beautiful and unique

dyed patterns, it involves performing various geometric operations (folding, stitching, tying,

clamping, pressing, etc.) on a support medium, then dipping the medium into a dye bath. The

process of dipping a cloth into a dye bath is called dip dyeing. The design of dyeing patterns

is complicated by factors such as dye transfer and cloth transformation. Professional dyers

predict final dye patterns based on heuristics; they tap into the years of experience and

intimate knowledge of traditional dyeing techniques. Furthermore, the dyeing process is time-

consuming. For example, clamp resist dyeing requires the dyer to fashion wooden templates

to press the cloth during dyeing. Templates used in this technique can be very complex. Hand

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dyed patterns require the dyer’s experience, skill, and effort, which are combined with the

chemical and physical properties of the materials.

This allows the dyer to generate interesting and unique patterns. There is no other painting

techniques that are associated with the transformation of the support medium. In contrast to

hand dyeing, dyeing simulation allow for an inexpensive, fast, and accessible way to create

dyed patterns (Morimoto et al,. 2011)

This exciting craft is a simple wax-resist technique for producing designs on white or light-

colored fabric. The wax is applied hot to the fabric following a preconceived design or idea.

Then the fabric is dipped in a cooled solution of dye and water, where only the un-waxed

parts are dyed. Sometimes the wax is deliberately cracked to form fine lines of color where

the dye penetrates these cracks. When the wax is removed, the design appears. The process

may be repeated for number of colors desired (Manitoba 2015).

The term of “Batik” refers both to the method of producing colored designs on textiles by

applying wax to the fabric to be left uncolored and the price of fabric treated in this way.

Batik is an Indonesian word, derived from the word “titik” or tik, meaning “a little bit” or a

“drop”. The word batik actually means “wax writing”. The term “Batik” refers both to the

method of producing colored designs on textiles by applying wax to the fabric to be left

uncoloured and the price of fabric treated in this way. Textile embellishment, a creative form

of self-expression in fabric design, uses countless media and procedures to produced dyed

printed fabric. Batik as a form of resisting decorative technique is a fabric dyeing method

which uses wax or paste to create patterns and design. It is well known throughout Japan,

India, and Indonesia. It is a decorating cloth by covering a part it with a coat of wax and then

dyeing the cloth. The pattern for batik is artistic designs drawn by hand. The patterns are

generally in geometrical, floral, bird or animal motifs, and other stylized forms. The dyeing

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and printing of textiles with natural dyes is one of the oldest method of printing practiced

back to the dawn of human civilization.

Colouring textile material with azoic dyes involves the reaction within the fibre polymer

system of the two components namely naphthol, and the base or diazo component. Dyeing or

printing with azoic dyes is a two stage process. In earlier days natural dyes extracted from

vegetable sources were used for batik work, but after the advent of synthetic dyes and its

subsequent commercialization the use of natural dyes presently the batik work is mainly done

with naphthol (azoic). The fabric can also be crumpled by hand before dying, to achieve a

textured look. The fabric is often dried outdoors, where the dyes react to the heat of the sun

and become increasingly vibrant. In the final process, the wax is then melted away when the

fabric is immersed in a vat of hot water (Saranya et al.., 2017).

Alozie found the following:

Pattering of tie-dye fabric was done in so many ways namely, sewing, tying, knotting,

folding, pleating, intention with stone sticks, threads with needle tighten to prevent the

penetration of dye (Alan, 2003). Tie-dye is a recent method of pattering fabric that is

achieved by preventing dye liquor from penetrating all parts of the fabric (Oguntona, 2000).

Tie-dye gained popularity in Nigeria during the great depression, when it was considered an

economical way to add new color to old material.

2.4.1 Some Special textile effects that can be applied to batik tie and dye

Some of batik patterns actually have a repetitive process in the making and can be easily

recognized. An example is the well-known motif parang. This is a very famous batik motif

and there have also been a lot of batik patterns made by the innovation of the motif that is

drawn in diagonal form runs parallel to each other repetitively. This motif has some disputed

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representation, for the word parang can be related to a “sword” (Malayan language) while

there are also the old Javanese word referring it to “slope of canyon”. Understanding the

iterated mechanisms on making the basic motif of batik reveals the elementary cognitive

process on making the batik designs. An algorithm of “chaos game” as introduced can be

incorporated computationally by applying the affine transformation with its respective

probability.

Chaos game (Figure 1) is conducted by using randomly picked point in the drawing-space as

initial condition and then with certain probability. The resulting point is then dotted and

becomes the input for the next iteration and so on. The dots would eventually emerge the

pattern of which our affine transformations attract them. While we remember the

etymological meaning of batik as “drawing dots”, this becomes more interesting for the

patterns we have from the Chaos Game are also emerged from the “attracted” dots (Situngkir,

2008).

Some innovations from the Chaos Game Algorithm; simple and slight modifications of the

sawat

Figure 1: Innovations of the Chaos Game Algorithm (Source: Owusu-Abrafi, 2018)

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Manitoba (2015) writes that “any design can be done in batik. It is best to create a design

which is solid rather than intricate lines. However, abstract doodles can be quite interesting

when done in one color only”.

Figure 2: Sample of a motif design (Source: Owusu-Abrafi, 2018)

Figure 3: Samples of abstract batik motif design (Source: Owusu-Abrafi, 2018)

2.4.2 Tie-Dye Pattern

Alozie found the following:

Small Circles: For small circle, pinch about 2-3 inches of the fabric, insert marble piece and

tie it with rubber band or string to hold secure. Many small circles can be made in a particular

pattern over the fabric (Onyeneje 2003).

Spiral: Lay down the fabric over a flat surface, spiral patterns are created by gathering a

small section, usually with a cloth or a kitchen fork, in the middle of the fabric and slowly

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rotating the pieces creating pleats of the fabric arranged in swirls around a center point. It is

gathered into a flat round bundle and the different wedges of the circular bundle are dyed in

different colors to create a greater spiral effect.

Pleats: Lay down the fabric and using both hands, pinch the fabric with thumb and forefinger

placed at an inch or two apart, continue making pleats till the end of the fabric, tie fabric with

rubber band (Oguntona, 2003).

2.5 Space Planning

Phillips (1998) writes “Decorating is the spice of interior planning, and it is always tempting

to rush out to the shops and buy up curtains and wall coverings straight away. However, it is

important that you assess the arrangement and intend use of your rooms and spaces, as well

as the cost of decorating, before deciding on your actual materials and techniques. Before

decorating, one must consider his or her lifestyle; whether one has children, the kind of work

being done at home, the overall style of the individual: would you like the decoration to be

bright and pretty, the space to be decorated work-manlike or formal; or perhaps to conform to

a particular historic al style?”. She also states that “one should take time to carry out some

research on other people’s homes for source of ideas and, while you could obviously not wish

to copy these slavishly, you can take from them what you like and adjust different aspects to

suit your own decorating scheme.

She suggests home-style magazine articles as a source of reference when considering

decorating ones homes without a professional touch and recommends the magazine as a

source full of useful addresses for stockiest and suppliers. Room sets in large stores can also

be good starting point, and houses open to the public will provide plenty of inspiration,

particularly if you are interested in decorating your home in a period style. A feeling for

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colour and texture combinations, and for the effects of different types of paint, paper and

fabric used in juxtaposition needs practice, but the learning process is fascinating”.

The appearance of the home should be worthy of its high purpose, to provide a place for the

promotion of the spiritual, intellectual, and physical growth of the family, as well as to

furnish as a shelter for it. Beautiful home surroundings constitute the most important factor in

the development of visual good taste, through daily contact with beauty, a lasting

appreciation of how it evolves. Beauty is not the only objective in planning and furnishing a

home. However, a home should be expressive of the personality of the owners and, most

important of all, should function effectively. The ultimate goal to be attained in a home is the

successful integration of the three objectives, beauty, expressiveness and functionalism

(Hong Rutt, 1948).

Inscape (2013) states that “In space planning, one must consult the client and space being

used and note that each client has his or her own ideas, dreams and expectations for the space

they live and work in. It is important for an interior designer to have a good understanding of

their requirements and also listen to them carefully. He encourages the need for relevant and

appropriate questions and a series of images to determine the style the client prefers. Analysis

of the event site to be decorated must be made, considering limitations set by the space as

well as opportunities to revamp and renovate”.

Author states that one must take into consideration the following;

User Requirements: A successful decorator needs to complete several important steps during

the process of a project to ensure a good quality outcome is achieved. As with most things in

life a successful outcome is dependent on sound preparation and planning. He recommends

guidelines to assist one in determining the needs of a client as well as a basis for questions

one may want to include at the interview with the client.

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  Identify users: Are the users individual or group, If group, how many? Are the group

specific or anonymous and what is their age group?

 Identify needs: Group needs, specific individual needs.

 Territorial requirements: Personal space, privacy, interaction, accessibility,

favoured objects, favourite colours, special places, special interests.

 Activity requirements: Name and function of primary requirements and secondary

or related activities

Analyze nature of the activities: Find out if the activities happening at the event sites are

active or passive, noisy or quiet, public, small group, or private. The space for more than one

activity, how compatible are the activities, how often is the space to be used and what time of

day or night is there an activity. Requirements for activities, be it private or enclosed,

accessible, flexible, needs light, acoustic quality, accessories or window treatments,

electrical, mechanical issues. One must also determine desired qualities such as comfort,

safety, variety, flexibility, style, durability, maintenance. Possible arrangements like

functional groupings, tailored arrangements and flexible arrangements should also be

considered when space planning.

Furnishing requirements for activities: Determine furnishing and equipment requirements

for each activity. Be it number, type and style of seating, tables, work surfaces, storage and

display units.

Space Analysis: Document existing or proposed space, measure and draw plan, sections and

interior elevations. Analyze space to be used, form, scale, and proportion of the space,

doorway locations, points of access, and the circulation paths they suggest.

Kilmer and Kilmer (2014) states that “before a designer can actually design a space for

someone, he or she must anticipate how that person will function in the space. Knowing the

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user’s present and future needs, activities, conditions, equipment, special allocations, and

other particulars makes the organization and design of space an easier task. Background

information must not only be organized and planned but gathered in a systematic manner.

This methodology consists of planning or establishing a plan of action often referred to as

“programming” in the design profession”.

Programs are recognized today as an essential part of the planning process for most design

situations in architecture and interior design. Interior designers are being required to take

more responsibility for detailed programming and planning before the design and sketching

process be gins. Designers are often faced with the task of designing environments that

accommodate functions and activities that they know little about; thus, a program becomes a

key to the design phase.

The programming phase is crucial to the interior designer as the initial step in ensuring that

the environment “performs” as it is designed to, serving the client’s needs, goals, and

aspirations. Programming is done by a design professional, such as an interior designer

architect, or by a team of professionals.

She also states that in the design process is space planning, which means arranging the spaces

to satisfy the program and the need of the client. We speak of “planning” the space rather

than “designing” the space since the primary concern at this point is solving the functional,

physical, and psychological needs of the client. This phase goes beyond addressing the

aesthetic or visual issues of texture, color, or fabric.

Space planning involves developing concepts in three dimensions and communicating in two-

dimensional plan drawings and other sketches to explain basic relationships. Other graphic

material, such as equipment lists, flow diagrams, analysis, circulation, and horizontal (and

21
vertical) relationships is added to assist in presenting the designer’s basic premises for

solving the problem.

Space planning, allowances, furniture specification, materials, and everything else that goes

into interior design vary with the use of the space. Space requirements for an office in a

privately own ed company might be quite smaller than those of government offices.

A perfect fabric in a hotel lobby may be totally inappropriate for a doctor’s office lobby or

assisted living facility. Great carpeting in a restaurant can look awful in a nursing home, the

style of a chair in a business hotel may be inappropriate in a mere sort hotel. Therefore, the

designer needs to understand the business of interior decorating in order to make appropriate

design decisions. The designer must have broad knowledge of products and must be

confident of visualizing product size and scale. The designer often does not have products

available in stock at his or her firm’s warehouse. Thus, it is important for the designer to have

up-to-date information concerning availability and delivery times on a wide range of products

(Piotrowski, 2002).

Perolini writes that “Interior designers play a key role in defining and shaping the spaces we

live in and therefore have the liability and obligation to create spaces that meet those needs.

Butterworth (2000) asserts that spaces, places and buildings are more than just props in

people’s lives. They are embedded with deeper personal and cultural meaning and resonance

and simultaneously symbolize personal histories, interpersonal relationships, people’s values

and sense of belonging. As a basic necessity buildings should cater for safety and shelter.

However, in order to cater for people’s wellbeing, a place needs to be able to give its

inhabitants a sense of belonging and a sense of identity; a place for both privacy and social

interaction.

22
We do not merely exist in a physical environment we interact with it, posit it with

significance and derive important meaning from it. The aesthetics cannot be absent from our

built forms and just like the importance of a defined space, aesthetic qualities of a space

reinforce spatial experiences. Encouraging a space to come to live and evoke senses and

responses, movement, comfort and control are important to people’s lives. Environments

(spaces) can suggest a range of activities that can or cannot occur and have the ability to

evoke feelings. Nasar and Augustin (2007) agree and explain that the perceived visual quality

of places has powerful effects on human experiences. They can contribute to worker

productivity, state of mind consumer behaviour and people’s general wellbeing. Studies show

that visual quality is rated highly with people.

Nasar and Augustin (2007) elaborate that most people give visual quality more importance

than other aspects of their surroundings and physical appearance that is inconsistent with the

desired image can lead to people avoiding a place. For example, the desired user of a space

might avoid the place if it conveys an undesirable meaning to them. Nasar and Augustin

(2007) give the example of an unfamiliar restaurant. Customers make judgement by entering

the space from its appearance which lets them make assumptions about price, food quality

and service. These judgements will also influence the behaviour of patrons. Interior designers

need to be able to predict such perception and come up with design solutions that convey a

desired meaning”.

2.5.1 Motif and arrangement suitable for interior decorating

Planning for a perfect effect Phillips (1998) writes that “When choosing and mixing patterns,

keep in mind the scale of your room as wel as the main design and balance of colours. One

can pick up on the main colours in the room in the background colours of your fabric, or in

any of the other coclours in the upholstery design. Mix and match patterns if you wish, but

23
make sure that they always relate to each other in some way – perhaps by having the same

design, or similar colour tones.

The pattern itself should relate to the general style of the room. A toile de Jouy fabric, for

example would go well in a frilly French-style bedroom, whereas a more formal palid or

check pattern would work well with striped wallpaper in a smarter setting. If you are aiming

for a more Gothicstyle, rich fabrics with Medieval motifs – such as a heavy velvet with a

fleur-de-lys repeat design work well.

When choosing fabrics, it is often a good idea to concentrate first on the main fabrics for

upholstery, choose covers and curtains, and to choose the fabrics for the finishing touches-

such as cushion covers, table clothes once you have completed the main scheme”.

2.6 Soft furnishings

Philips opine that “Soft furnishings are the icing on the cake of your decorating scheme: they

make an important addition and can liven up, tone down or complete a room in a meaningful

way. Even if you are not able to decorate the rest of the room immediately, a change of

colour in the upholstery and curtains will transform the space and give the existing décor a

new lease of life.

Your soft-furnishing scheme will take as much planning and thought as any other part of the

decoration. There is such a wide choice of fabric and styles available that it is easy to get

carried away and find that you bought wonderful fabrics that simply do not go together, or

that over-ride your carefully planned ideas. Whether you are starting afresh or livening up an

existing scheme, remember that, as with all other design elements, soft furnishings have

much greater impact and create a far better overall impression when they give a co-ordinated

style to a room.

24
Furnishings are needed by people as an essential element both in exterior and interior spaces.

They provide people comfort, increase their life standards and help to sustain activities in a

more comfortable way (Nielson and Taylor, 1994). Furnishings are essential element in

people’s lives. Without furnishings, people cannot maintain their lives, nor can they perform

tasks. They cannot pass comfortably time in their living environments. In general, furnishings

help to make spaces suitable for living. They create an opportunity to sleep, sit, relax and

entertain. Furnishings, especially for the interior spaces, load a message to make spaces

personal and reflect user’s personality (Kalınkara, 2006). Furnishings turn neutral spaces into

personal and special spaces for people.

Furnishings include furniture, fabrics, arts and accessories for interior spaces. Fabrics are like

a material for furnishings in interior spaces. They are the things that are used and shaped by

users in a different way and have a role of personalizing interior spaces. The connection

between fabrics and soft furnishings are started constitute. Many researches defined fabrics

as:

 A tactile element in design that has the ability to humanize our interiors. Fabric can

give a sense of personal space, since so often it is selected with personal preference as

a prime criterion‟ (Nielson and Taylor, 1994).

 Fabrics most often appear in interior spaces as upholstery cover materials for chairs,

sofa and cushions, as bed and table covers and in window treatment.

 Fabric can be used to inject color and add softness to a room. Because of its

versatility, fabric can be used to make accessories which will create drama and add

pattern to a dull interior space.

 Fabrics introduce a sense of softness, curvature, and flexibility into a space, making a

hard looking room seem soft, comfortable and humane.

25
  Fabrics are the major part of soft furnishings. We use these for making drapery,

curtains, cushions, valances, tiebacks, wall panels and upholstering our furniture to

make it more comfortable to sit on (Ergüden, 2012).

2.6.1 Some items for Interior Decorating: Soft furnishings

Batik and tie-dye products are used for making frames, table covers, armrests, cushion covers

(Figure 4, 5 and 6), draperies (Figure 7 and 9), pillow cases, window blinds (Figure 8) and

table mat.

 Table cover: The table cover is used to cover tables like dining table etc.

 Frames: Frames are used for interior decoration in the home. It is being hanged to

beautify the wall of the room.

 Cushion Cover: Cushion cover is a soft bag of some ornamental materials stuffed

with wool, chair feathers, polyester, sample fiber, non-woven materials, or even paper

torn into fragments. It may be used for sitting or kneeling upon.

 Armrest: The armrest is used on the arm of chairs. It also helps to add beauty to the

chairs.

 Pillowcases: These are used to cover pillows

 Table mats: Tie-dye table mats can be used as an excellent decoration item in ted

room, living room or on the corner table tops and so on.

 Draperies: A tie-dye drapery is used in the room for light control and insulation.

Draperies can be used to give a room a focal point.

26
Figure 4: Samples of soft furnishing made from batik and tie-dye (Source: Owusu-

Abrafi, 2018)

Figure 5: Samples of soft furnishing made from batik and tie-dye (Source: Owusu-

Abrafi, 2018)

27
2.7 Curtains, Blinds and Drapes made from Batik

Phillips (1998) writes that “One can have enormous fun with curtains and drapes. In a formal

setting, you should make and line the curtains carefully, and hang them from suitable poles or

tracking with appropriate headings; but for a more informal interior you can create stunning

but inexpensive effects by simply folding, draping, looping or scrunching fabrics around your

windows”.

28
Figure 6: Samples of curtains made with batik (Source: Owusu-Abrafi, 2018)

Figure 7: Curtain blinds made from batik (Source: Owusu-Abrafi, 2018)

29
 CHAPTER THREE

METHODOLOGY

3.1 Type of Study Design

The Cross-Sectional study design was employed in this study to assess the use of batik and

tie-dye in interior decoration in Kumasi - Ghana. This involved all the major stakeholders in

interior decoration (Building and construction companies, Textile industries, Interior

decorators, Hotels, Restaurant, Bars, Schools, Hospitals, Church, Clinics, Banks, etc). The

study involved questionnaire to gather information on barriers to the use of batik and tie-dye

in interior decoration as well as some challenges.

3.2 Study Area

The study was conducted at in Kumasi. Three (3) different organizations were selected from

each institution from the various stakeholders in interior decoration.

3.3 Study Population

The population for this study constituted the major stakeholders involved in interior

decoration in Kumasi.

3.4 Sampling Technique

A convenient sampling technique was used to select the institution (Building and construction

companies, Textile industries, Interior decorators, Hotels, Restaurant, Bars, Schools,

Hospitals, Church, Clinics, Banks, etc) associated in interior decoration . A random sampling

technique was used to select three (3) organizations within the Kumasi metropolis. A random

30
sampling was then used to select three (3) individuals from each company and departments in

the agencies.

3.5 Sample Size

In all a total of 150 respondents were chosen for the survey.

3.6 Data Collection Techniques/Methods & Tools

The study employed the use of a structured questionnaire. A face to face interview was

conducted to obtain the needed information from the respondents. The questionnaire captured

information on demographic characteristics as well as perception of the respondents towards

the use of batik and tie-dye and the challenges and barriers they encountered in trying to use

batik and tie-dye for interior decoration.

3.7 Data Processing

The data collected was analyzed using SPSS version 16.

3.8 Ethical Considerations

Approval from the study area: Permission was sought from the various institutions before

undertaking the study.

Privacy and Confidentiality: Each participant was interviewed/answered questionnaires on

individual basis to maintain privacy and confidentiality. The information that was collected

from the respondents was treated as confidential.

Data storage and Usage: The information that is obtained from the participants has been

kept by the researcher in confidence under key and lock for at least 3 years and only the

researcher and the supervisor would have access to the response.

31
 CHAPTER FOUR

RESULT AND DISCUSSIONS

4.1 Demographic Characteristics of Respondents

Table 4.1: Background characteristics of users of batik and tie-dye

Age Frequency Percentage (%)

20 – 24 years 25 17%

25 – 29 years 40 27%

30 – 34 years 20 13%

35 – 39 years 35 23%

40 and above 30 20%

Gender

Male 85 57%

Female 65 43%

Educational Background

Diploma/HND 50 33%

First Degree 75 50%

Masters 25 17%

Occupation

32
Self-employed 45 30%

Government worker 80 53%

Private business worker 25 17%

Total 150 100%

Table 4.1 is a representation of the demographic characteristics of respondents. The study

sought to find out the age range of respondents in the study area. From the study, it was found

out that, respondents between the ages of 20 – 24 years constituted 17%, 25 – 29 years

constituted 27%, 30 – 34 years constituted 13%, and 35 – 39 years also constituted 20% of

the population. 20% represented those respondents who had attained 40 years and above.

This is a clear indication that, majority of the respondents was between the ages of 25 – 29

years.

The gender of the respondents was such that, 57% was made up of males in the research area

while 43% was made up of females. This means that the number of males constituted

majority in the study area.

The outcome of the educational background of the respondents was such that 33% were

Diploma/HND holders, 50% were First Degree holders, and 17% had master’s degree. This

indicates that majority of the respondents have had their first degrees.

Finally, in case of occupation 30% of the respondents were self-employed, 53% were

government workers and 17% were private business workers. An indication that majority of

the respondents in the study area were government workers.

33
Research Question 1: What is the perception of people towards the use of batik and tie-dye in
interior decoration in Kumasi?

4.2 Perception of people towards the use of batik and tie-dye in interior decoration

Table 4.1: Perception of people towards the use of batik and tie-dye in interior
decoration
SN Statement Agree Not Sure Disagree Total

1 Perception that batik and tie-dye 15 10 6 31

cannot be used for interior decoration

2 Pattern complication 20 12 7 39

3 The expensive nature of batik as 15 10 8 33

interior decoration

4 Perception on the poor quality of batik 25 12 10 47

and tie-dye for interior decorating

Total 75 44 31 150

Percentage 50% 29% 21% 100%

Table 4.1 shows the results of responses on the perception of people towards the use of batik

and tie-dye in interior decoration. Out of 150 responses, 75 responses representing 50%

agreed that; the perception that batik and tie-dye cannot be used for interior decoration,

pattern complication, the expensive nature of batik as interior decorating, and perception on

the quality of batik and tie-dye for interior decoration is prevalent. However, Forty-four (44)

of the respondents representing 29% were not sure and 31 respondents representing 21%

34
disagreed. The results is in line with literature since it affirms Owusu-Abrafi, (2018) assertion

that, the above mentioned are some of the perceptions of people towards the use of batik and

tie-dye in interior decoration.

Research Question 2: What are the challenges and barriers encountered in the use of batik

and tie-dye for interior decoration?

4.3 The challenges and barriers encountered in the use of batik and tie-dye for interior

decoration

Table 4.2: The challenges and barriers encountered in the use of batik and tie-dye for

interior decoration

SN Statement Agree Not Sure Disagree Total

1. Colour running 20 5 5 30

2. Size of motifs 30 - - 30

3. Placement of motifs 13 7 10 30

4. Colours are not in harmony 10 20 - 30

5. Not versatile 15 4 11 30

Total 88 36 26 150

Percentage 59% 24% 17% 100%

Table 4.2 shows the results of responses on the challenges and barriers encountered in the use

of batik and tie-dye for interior decoration. It was revealed that, 88 responses representing

59% agreed that certain qualities of batik and tie-dye fabrics as Not fast/ Runs, Size of motifs,

Placement of motifs, Colours are not in harmony, Not versatile, are some of the challenges

and barriers encountered in the use of batik and tie-dye for interior decoration while 36

respondents representing 24% were not sure and 26 respondents representing 17% disagreed.

The result is in line with literature because it affirms Nasar and Augustin (2007) that the

35
above mentioned factors are the challenges and barriers encountered in the use of batik and

tie-dye for interior decoration.

Research Question 3: What interior decorations can be made purposely from batik and tie-die

products?

4.4. Interior decorations that can be made purposely from batik and tie-die products

Table 4.3: Interior decorations that can be made purposely from batik and tie-die

products

SN Statement Agree Not Sure Disagree Total

1 Upholstery 25 5 - 30

2 Bedding 21 5 5 31

3 Cushions 40 7 2 49

4 Wallpaper 33 7 - 40

Total 119 24 7 150

Percentage 79% 16% 5% 100%

Table 4.3 shows the results of responses on the interior decorations that can be made

purposely from batik and tie-die products. Out of 150 responses, 119 responses representing

79% agreed that upholstery, bedding, cushions, and wallpaper designs are some of the

interior decorations that can be made purposely from batik and tie-die products. On the other

hand, 24 responses representing 16% were not sure and 7 respondents representing 5%

disagreed.

36
The result is in line with the findings of Owusu-Abrafi, (2018) who established that the above

mentioned and many other uses of batik and tie-dye fabrics exist.

CHAPTER FIVE

SUMMARY, CONCLUSION, RECOMMENDATION

5.1 Summary

This study sought the use of batik and tie-die for interior decoration. The study was guided by

three objectives; (1) To find out the perception of people towards the use of batik and tie-dye

in interior decoration in Kumasi, (2) To examine the challenges and barriers encountered in

the use of batik and tie-dye for interior decoration, and (3) To design and make batik and tie-

die apparels purposely for interior decorations.

From the study it was established that, out of 150 responses, 75 responses representing 50%

agreed that; the perception that batik and tie-dye cannot be used for interior decoration,

pattern complication, the expensive nature of batik as interior decorating, and perception on

the quality of batik and tie-dye for interior decoration is prevalent. However, Forty-four (44)

of the respondents representing 29% were not sure and 31 respondents representing 21%

disagreed.

Again, it was revealed that, 88 responses representing 59% agreed that certain qualities of

batik and tie-dye fabrics such as colour running, Size of motifs, Placement of motifs, Colours

are not in harmony, Not versatile, are some of the challenges and barriers encountered in the

37
use of batik and tie-dye for interior decoration while 36 respondents representing 24% were

not sure and 26 respondents representing 17% disagreed.

Finally, the study sought to find out responses on the interior decorations that can be made

purposely from batik and tie-die products. Out of 150 responses, 119 responses representing

79% agreed that upholstery, bedding, cushions, and wallpaper designs are some of the

interior decorations that can be made purposely from batik and tie-die products. On the other

hand, 24 responses representing 16% were not sure and 7 respondents representing 5%

disagreed.

5.2 Conclusion

Based on the objectives of the study, the following conclusions are drawn that;

There is the perception that batik and tie-dye cannot be used for interior decoration. Again,

batik and tie-dye is characterized by pattern complication according to respondents in the

study area. Others are of the view that, the expensive nature of batik and tie-dye as interior

decoration prevents them from using them. There was also the perception poor quality of

batik and tie-dye for interior decoration.

Again, the study revealed that, certain qualities of batik and tie-dye fabrics such as colour

running, size of motifs, placement of motifs, colours not in harmony, not versatile, were

mentioned as some of the challenges and barriers encountered in the use of batik and tie-dye

for interior decoration.

Finally, it was established that upholstery, bedding, cushions, and wallpaper designs are some

of the interior decorations that can be made purposely from batik and tie-die products.

5.3 Recommendation

38
It is therefore recommended that;

Statistics made on the quality and volumes of batik and tie-dye fabrics available in the market

should be made known to the public based on the survey. The stakeholders in interior

decorating in Ghana were not sure if batik and tie-dye fabrics possess the quality of fabric to

be used for interior decoration, therefore can affect its patronage.

Efforts by the textile producers of batik and tie-dye in Ghana should be channeled into

checking the motif placement since this was suggested as a way to help address challenges

encountered in trying to use batik and tie-dye for interior decoration to improve the use of

batik and tie-dye for interior decoration.

Intensive education on the benefits and the possibility of the use of batik and tie-dye for

interior decorating products such as curtains, cushion covers, wall hangers, armrest, table

covers, pillowcase, table covers be done to benefit stakeholders in interior decorating in

Ghana since most of them are not sure as to whether batik and tie-dye could be used as

interior decorating during the survey.

5.4 Suggestions for further study

A study should be undertaken to determine the solutions to colour running in batik and tie-

dye fabrics so as to preserve the quality of the fabric.

39
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