ARCHITECTURAL INTERIORS o Structural Anthropometry

(Static Anthropometry) – deals with simple dimensions of

LESSON 1: THE ART AND SCIENCE OF DESIGNING AND the stationary human being.
CONSTRUCTING BUILDINGS
Example : Weight, stature and the lengths, breadths,
“We spend an increasing amount of our lives indoors in built depths and circumferences of particular body structures
Environments.
We wake from a night’s sleep in some form of interior space and
go to learn, work, or play in another space that gives a sense of o Functional Anthropometry
purpose to our lives. We may briefly go outdoors to get to the site (Dynamic Anthropometry) – deals with compound
of our day’s occupation, but the amount of time spent outdoors is measurements of the moving human being.
usually only a fraction of the time spent indoors.”
Example : Reach and the angular ranges of various
~ Rosemary and Otie Kilmer joints.

ARCHITECTURE PROXEMICS
• The art and science of designing and constructing • It is the study of physical distance and its influence on
buildings human interactions. The amount of space existing
• The product or result of architectural work: buildings, between people when communicating can reveal the
collectively. nature of the relationship. This term was coined by
• A style or method of building characteristic of a people, Edward T. Hall, who was an anthropologist. He was
place, or time. interested in understanding how humans place
• The profession of designing buildings and other habitable themselves in terms of space. He defined proxemics as
environments. “the spatial dimension of non-verbal behaviour.”
• The conscious act of forming things resulting in a unifying
or coherent structure. Two Categories
o Personal Space – the immediate space
ARCHITECTURAL INTERIORS surrounding a person
• Architectural Interior means a detailed planning and
design of the indoor/enclosed areas of any proposed o Territory – area which a person may “lay claim
building/structure, including retrofit or renovation work to” and defend against other
and which shall cover all architectural and utility aspects,
including the architectural lay-outing of all building
engineering systems found therein.
• Concerned with anything that is found inside a space –
walls, windows, doors, finishes, textures, light,
furnishings and furniture. Is focused on choosing color
palettes with complementary furniture, flooring, window
coverings, artwork, and lighting. Involves manipulating
the architectural integrity of the interior space.

THE VITRUVIAN MAN

Artists during the renaissance applied anthropometric

measurements to artistic works by applying human proportions.
One of the most famous examples, is the work of the famous artist Intimate Space (Touch – 45 cm):
Leonardo da Vinci, who obtained measurements of the human • Reserved for close, intimate conversations, but may also
body by analyzing cadavers. Other artists relied on live models be used in haptic communication. Intimate space can be
and historical archives to obtain accurate anthropometric comforting, frightening or even annoying.
measurements
ANTHROPOMETRICS Personal Space (45 cm – 1.2 m):
• Anthropometrics is the comparative study of the human • This is the zone, which is reserved for friends, family and
body’s measurements and capabilities. It comes from the close acquaintances. In this zone, people enjoy having
Greek words anthropos (human) and metron (machine) close individuals around by interacting with them and
(meaning measure) subtle touches are considered normal or friendly.
Social Space (1.2 m – 3.6 m):
Kinds of Anthropometry:
 • This is not as impersonal as the public space and not as
close as the personal space. This is the zone where SPACE PLANNING
normal social interactions between distant acquaintances Plan – a visual presentation of conceptual ideas
and colleagues take place. supported by mathematical calculations aimed at giving
convenience and comfort to users or occupants. It should
Public Space (3.6 m – 7.6 m): be functional and economical.
• Public space is the least personal zones of all the other
zones. Such a zone is held mostly during a professional • Planning Considerations:
setting where a person has to address a group of people. o Distribution – placement, location and
arrangement of room units in relation with each
NONVERBAL COMMUNICATIVE FACTORS AFFECTING other as to functions and coordination
VARIATIONS IN POSITIONING:
• Kinesthetic factors o Circulation – addressing the traffic inside the
• Touching code building.
• Visual code
• Thermal code o Light and Ventilation – natural and artificial
• Olfactory code Sec. 808 of the NBC states: “Every room
• Voice loudness intended for any use and not equipped with
artificial ventilation system, shall be provided
Cultural factors: with window or windows with a total free
opening area equal to at least 10% of the room
• “Linear-active” cultures, which are characterized as
floor area, and such window shall open directly
cool and decisive
to a court, yard, public street or alley, or pen
(Germany, Norway, USA)
water courses.”
• “Reactive” cultures, characterized as accommodating
and non-confrontational o Zoning Laws – land use
(Vietnam, China, Japan)
o Sizes, Areas and Shape – rooms should be
• “Multi-active” cultures, characterized as warm and planned according to human scale; provided
impulsive with ample areas to accommodate furniture,
(Brazil, Mexico, Italy) appliances, and other related facilities; shape
should be functional, not fancy. Section 806 of
Territory the NBC states: “ The minimum sizes of rooms
Forms of human territory: and
• Public territory – a place where one may freely enter Their least horizontal dimensions shall be:
▪ Room for human habitation – 6.00
• Interactional territory – a place where people sq.m. with a least dimension of 2.00 m
congregate informally
• Home territory – a place where people claim their ▪ Kitchen – 3.00 sq.m. with a least
individual territory dimension of 1.50 m

• Body territory – the space immediately surrounding us ▪ Toilet & bath – 1.20 sq.m. with a least
dimension f 0.90 m
ERGONOMICS
• Ergonomics is a science focused on the study of human ▪ Orientation – position and direction of
fit, and decreased fatigue and discomfort through product the sun; prevailing wind directions
design. The word ergonomics comes from two Greek
words: o Height –
ERGO: meaning work and Section 807 of the NBC states: “The
NOMOS: meaning laws. minimum air space shall be provided as
• Ergonomics applied to office furniture design requires follows:
that we take into consideration how the products we ▪ Habitable room – 14.00 cu.m. of air
design fit the people that are using them. Proper space per room
ergonomic design is necessary to prevent repetitive
strain injuries, which can develop over time and can lead ▪ School room – 3.00 cu.m. with 1.00
to long term disability. At work, at school, or at home, sq.m. of floor area per person
when products fit the user, the result can be more
comfort, higher productivity, and less stress.
 ▪ Office workshop and facilities – ▪ 48” or 1.20 m– table to base cabinet
12.00 cu.m. of air space per person Bedroom
Bedroom Planning Considerations:
o Section 805 of the NBC on ceiling heights
provides that: ▪ 2”-3” or 0.50-0.70 m – between wall &
furniture
▪ Habitable rooms with natural
ventilation – ceiling height not less ▪ 2”-4” or 0.50-0.10 m –between
than 2.70 m furniture units
▪ Habitable rooms with artificial
ventilation – ▪ 4” or 1.00-1.10 m – one side or foot of
1. ceiling height not less than bed for dressing
2.40 m For buildings more
than 1 Storey, 1st floor – 2.70 ▪ 6”-8” or 0.15-0.20 m – between side
m; of bed and side of dresser or chest
2. 2nd floor – 2.40 m;
3. succeeding Floors – 2.10 m ▪ 36”-40” or 0.90-1.00 m – in front of
unobstructed typical dresser, closet and chest drawer
headroom clearance
▪ 22”-24” or 0.55-0.60 m – in one side
▪ Mezzanine floors – ceiling height not of bed for circulation
less than 1.80 m above and below it
▪ 24”-28” or 0.60-0.70 m – for major
circulation path door

Space Planning ▪ 3-4 cm – on least used side of double

Living Room bed
Living Room Planning Considerations:
Kitchen
▪ 60” or 1.50 m – between facing Kitchen Planning Considerations:
seating
▪ 74” or 1.80m – wall shelving maximum
▪ 24” or 0.60 m – circulation between height
furniture
▪ 38” or 0.96m – countertop maximum
▪ 30” or 0.75 m – for use of desk height

▪ 36” or 0.90 m – main circulation ▪ 30” or 0.76m – countertop minimum

height
▪ 60” or 1.50 m – between home
entertainment to seating ▪ 24” or 0.60m – minimum height of
cabinets over range and sink
▪ 10’ or 3.00 m – diameter for seating
arrangement ▪ 15” or 0.38m – minimum height of
cabinets over other areas
Dining Area
Dining Area Planning Considerations: ▪ 4-18” or 0.10-0.45m – depth of wall
shelving
▪ 32” or 0.80 m – chairs plus access
thereto ▪ 12-24” or 0.30-0.60m – depth of base
shelving
▪ 38” or 0.95 m – chairs plus access
and passage ▪ 15-24” or 0.38-0.60m – depth of
countertop shelving
▪ 42” or 1.05 m – serving from behind
chair ▪ 5-10” or 0.13-0.25m – spacing of
shelving
▪ 24” or 0.60 m – passage only
 ▪ 4” or 0.10m – backsplash minimum ▪ 0.60m – minimum clearance in
height between urinal centers

▪ 56-60” or 1.40-1.50m – optimum ▪ 0.375m – minimum distance from bidet

height for hood center to side wall

Bathroom ▪ 0.75m – minimum clearance in

Bathroom Planning Considerations: between bidet centers
Types of Bathroom:

▪ Shower room – contains a shower

cubicle but no bathtub

▪ Ensuite – a bathroom or shower room

attached to and only accessible from a
bedroom

▪ Family bathroom – a full bathroom in

a house where one or more bedrooms
have en-suites.

▪ Jack and Jill bathroom – a bathroom

with two doors, accessible from two
bedrooms

▪ Master Bathroom – contains a shower

and a tub that is adjoining to a Master
bedroom

▪ Full Bath – contains a bathtub,

shower, toilet, and sink

▪ Half Bath or Powder Room –

contains just a toilet and a sink

▪ ¾ Bath – contains a shower, toilet, and

sink

▪ 0.375m – minimum distance from

water closet center to side wall

▪ 0.75m – minimum clearance in

between water closet centers

▪ 0.30m – minimum distance from urinal

center to side wall

▪ 0.60m – minimum clearance in

between urinal centers

▪ 0.375m – minimum distance from

water closet center to side wall

▪ 0.75m – minimum clearance in

between water closet centers

▪ 0.30m – minimum distance from urinal

center to side wall
 ARCHITECTURAL INTERIORS ▪ Long, low furniture pieces such as
sofas and chests
LESSON 2: DECORATIVE ELEMENTS AND CONCEPTS
OF COLORS o DIAGONAL LINES
- Diagonal lines suggest action, movement
DESIGN ELEMENTS AND PRINCIPLES and excitement.
• The ELEMENTS form the basic vocabulary of visual
design, while the PRINCIPLES constitute the Can be seen in:
broader structural aspects of the composition. ▪ Staircases
▪ Cathedral ceilings
• SIMPLE ILLUSTRATION: ▪ Gable roofs
Elements (ingredients) + Principles (cooking
methods) = Composition (dish) -Diagonal lines can be overpowering and
tiring, so they should be used sparingly in
design.
PRINCIPLES:
• Balance, Emphasis, Rhythm, Unity, Contrast, o CURVED LINES
Movement -Too many curved lines create a busy look.
ELEMENTS: Can be seen in:
• Point, Line, Shape, Space, Color, Form, Texture ▪ Doorway arches
▪ Ruffled curtains
DECORATIVE ELEMENTS OF DESIGN ▪ Curved furniture
• POINT ▪ Rounded accessories
A dimensionless geometric element that has no
property but location, as the intersection of two lines • SPACE
- Space is the area provided for a particular
• LINE purpose. It may have two dimensions (length and
Line is the visual direction of a design. It can be width) such as a floor, or it may have three
used to emphasize a pleasing element or disguise dimensions (length, width, and height), such as a
an undesirable one. Different types of lines have room or dwelling.
different effects on design.
o Any space, no matter what size or shape,
o VERTICAL LINES can be divided into distinct parts.
-Vertical lines lead the eye up, adding o Too little space can create a feeling of being
height, formality, and strength to a design. exposed.
Can be seen in: o Very large rooms designed for many people
▪ Tall furniture can produce a lonely feeling when a person
▪ Columns is alone.
▪ Pillars o Space is affected by the number and size of
▪ Striped wallpaper objects in it.
▪ Long Narrow Draperies o Many objects scattered throughout a room
will most likely destroy the design effect
-Vertical lines can make rooms seem more because the space will have no apparent
spacious than they actually are and ceilings organization or unity.
appear higher. o Objects grouped into large units will create
a more ordered space.
o HORIZONTAL LINES
-Horizontal lines lead the eye to the left or • SHAPE
right, suggesting informality and restfulness. -Shape is a flat image with two dimensions: Length
and Width Shape is created by intersecting lines to
Can be seen in: form squares, rectangles, and triangles.
▪ Long, low roofs
 Can be seen in: o HUE
▪ Shiny and reflect images- mirrors - Hue is the name of a color. Ex. Red, green and
▪ Transparent and create visual Blue-violet
effects - window glass
▪ Textured and absorb light and o VALUE
sound - window treatments and - Value is the lightness or darkness of a hue.
carpeting The value of a hue can be made lighter by
▪ Hard or Soft adding white. This produces a tint. Pink is a tint
▪ Plain or patterned of red, made by adding white to red.
▪ Colored light or dark
o INTENSITY
• FORM -Intensity (Saturation) is the brightness or
-Form is the outlined edges of a three-dimensional dullness of a hue. Purity of a color. Desaturated
object. It has length, width, and depth (or height) as colors tend to look gray.
well as volume and mass.
-The effect of passing rays of white light through a
o Thin, delicate forms appear fragile, even prism is to bend the shorter wavelengths, thus
when built of sturdy materials. separating them into distinctly identifiable bands of
o Large, heavy forms provide stability to a color
design scheme.
o Related forms tend to look better together
than unrelated forms. TYPES OF COLOR SCHEME
o ANALOGOUS
• TEXTURE Colors that contain a common hue and are
-Texture is a surface’s tactile quality. Tactile refers found next to each other on the color wheel,
to the perception of touch. In design, texture appeals e.g., violet, red-violet, and red create a
to sight as well as touch. sense of harmony.

Words used to describe textures: o MONOCHROMATIC

▪ Ribbed One color. A monochromatic color scheme
▪ Crinkled uses only one hue (color) and all values
▪ Rough (shades or tints) of it for a unifying and
▪ Smooth harmonious effect.

o Often patterns or colors are used to create o NEUTRAL COLORS

the illusion of texture. Contain equal parts of each of the three
o Smooth surfaces reflect more light than primary colors - black, white, gray, and
rough surfaces, making them look lighter sometimes brown are considered "neutral".
and brighter.
o Rough surfaces absorb more light, making o WARM COLORS
them look darker and less intense. Suggest warmth and seem to move toward
o A room with the same texture throughout is the viewer and appear closer, e.g., red and
monotonous, but too many different textures orange are the colors of fire
can appear disjointed and distracting.
o Most well-designed rooms have a dominate o COOL COLORS
texture with accents of contrasting textures. Suggest coolness and seem to recede from
a viewer and fall back, e.g., blue and green
are the colors of water and trees).
• COLOR
-Color derives from the spectrum of light (distribution
of light energy versus wavelength) interacting in the o COMPLEMENTARY
eye with the spectral sensitivities of the light Two colors opposite one another on the
receptors color wheel, e.g., blue and orange, yellow
and purple, red and green.
o TRIADIC
A color triad is composed of three colors
spaced an equal distance apart on the color
wheel.

o SPLIT-COMPLEMENTARY
Split complements - the combination of one
hue plus the hues on each side of its
complement. This is easier to work with
than a straight complementary scheme.

o DOUBLE-COMPLEMENTARY
Double complementary - two adjacent hues
and their opposites. It uses four colors
arranged into two complementary color
pairs. This scheme is hard to harmonize; if
all four colors are used in equal amounts,
the scheme may look unbalanced, so you
should choose a color to be dominant or
subdue the colors.
 ARCHITECTURAL INTERIORS building more efficient. An easy way this can be
done is to install LEDs instead of fluorescent
LESSON 3: “NATURAL AND ARTIFICIAL LIGHTING lighting. Because of the technology, there is less
SYSTEMS, LOCATING THE UTILITY ELEMENTS, MATERIALS wasted light with LEDs than fluorescent due to
FOR INTERIORS the directional nature of LEDs.

LIGHTING NATURAL LIGHTING

• Lighting plays a vital role in the way people experience • Natural lighting, also known as daylighting, is a
and understand architecture. Whether buildings and technique that efficiently brings natural light into your
structures are lit naturally or artificially, lighting is the home using exterior glazing (windows, skylights, etc.),
medium that allows us to see and appreciate the beauty thereby reducing artificial lighting requirements and
in the buildings around us. saving energy.
• Lighting can bring an emotional value to architecture – it • Sources of Natural Lighting
helps create an experience for those who occupy the o DIRECT SUNLIGHT
space. Without lighting, where would architecture be? o EXTERNAL REFLECTION - light reflecting off
Would it still have the same impact? No, it wouldn’t. of ground surfaces, adjacent buildings, light
Whether it’s daylighting or artificial lighting, light draws shelves, and wide window sills. Excessive
attention to textures, colors, and forms of a space, reflectance is undesirable as it causes glare.
helping architecture achieve its true purpose. Vision is o INTERNAL REFLECTION - light reflecting off of
the single most important sense through which we enjoy internal walls, ceiling, and the floor of your
architecture, and lighting enhances the way we perceive home. This also includes high reflective
architecture even more surfaces such as smooth or glossy surfaces,
• To create a successful balance between lighting and light colored finishes, and mirrors around a
architecture, it is important to remember three key aspect room
of architectural lighting
o Aesthetic o SUN PATH
o Function Sun path, sometimes also called day arc, refers
o Efficiency to the daily and seasonal arc-like path that the
Sun appears to follow across the sky as the
▪ Aesthetic is where designers and architects Earth rotates and orbits the Sun. The Sun's path
focus on the emotional impact the balance of affects the length of daytime experienced and
lighting and architecture will have on occupants. amount of daylight received along a certain
It’s where designers determine how they want latitude during a given season.
people to feel when they walk around a space.
This aspect is especially important for retail o SOLAR ZENITH ANGLE
locations; exterior lighting should draw the The solar zenith angle is the zenith angle of the
consumer in, and the interior lighting should sun, i.e., the angle between the sun’s rays and
awe them as they walk through the doors in the vertical direction. It is the complement to the
addition to showing off product. solar altitude or solar elevation, which is the
altitude angle or elevation angle between the
▪ The second aspect, function, cannot be sun’s rays and a horizontal plane. At solar noon,
overlooked. We want the lighting to look a the zenith angle is at a minimum and is equal to
certain way, but we have to also make sure it latitude minus solar declination angle. This is
serves its most important purpose – to help us the basis by which ancient mariners navigated
see. Areas should be illuminated so occupants the oceans. Solar zenith angle is normally used
feel safe when navigating a room or entire in combination with the solar azimuth angle to
building. They should be able to see the floor determine the position of the Sun as observed
and walls around them, which should create a from a given location on the surface of the Earth
feeling of reassurance
▪ The final aspect is very important in today’s age
of green building and sustainability and efficient
movements. It’s one thing to create a
breathtaking lighting layout, but it’s another to
create a breathtaking layout that is also
incredibly energy efficient. This can be done by
assuring the majority of the light is reaching its
target and there is less wasted light. Reducing
the amount of wasted light will make the
 horizontal element. Horizontal elements are commonly
referred to as light-shelves.

SOLAR SHADING DEVICES

• Solar shading devices are often implemented to control
the solar gains and potential glare from windows. These
shading devices include overhangs and blinds

ARTIFICIAL LIGHTING
o PRINCIPLE OF EFFECTIVE NATURAL • artificial light is human-made and can emanate from
LIGHTING sources including fire, candlelight, gaslight, electric lamps
▪ Orientation of the Building and so on. Today however, the term 'artificial lighting'
▪ Form of the Building generally refers to lighting that emanates from electric
▪ Glazing Ratio and Specification lamps. The term ‘lamp’ refers specifically to a light
▪ Window Height and Location source, typically comprising a light-emitting element
▪ Overhead Daylighting contained within an outer container (bulb or tube) which
▪ Daylight Redirection emits radiation within the visible spectrum

o DAYLIGHT FIXTURES • Artificial light is generally easily manipulated to achieve

▪ windows the required lighting outcome. The light can be increased
▪ skylights or decreased, directed, focused and coloured. This
▪ tubular lights allows lighting to create a range of effects according to
▪ redirection device the requirements of a space.
• The type of artificial light source chosen will depend on
WINDOWS the type of space the lighting is for (office, living room,
• A window is an opening formed in a wall or roof primarily bathroom etc); the quality and type of light required for
to admit daylight through some transparent or translucent the space, and the energy consumption of the light fitting
material. Windows also serve an important function in
providing controlled natural ventilation to buildings and UNITS OF LIGHTS
make a major contribution to the visual appearance of 1. Unit of Light or Luminous Flux
buildings. Lumens
SKYLIGHTS
• Skylight are Roof opening covered with translucent or 2. Unit of Density of Light
transparent glass or plastic designed to admit daylight. Footcandle is the amount of lumens falling on an area
Skylights have found wide application admitting steady, one square foot one foot away
even light in industrial, commercial, and residential b) Lux is the amount of lumens falling on an area one
buildings, especially those with a northern orientation. square meter one meter away. One (1) footcandle is
Installations range from purely functional daylighting to equivalent to 10.76 lux.
elaborate aesthetic forms. Flat-roofed buildings may
have domed skylights; in others the skylight follows the 3. Unit of Light Intensity candlepower (cp)
slope of the roof. Often the skylight, or a portion of it,
functions as an operating window to admit air. 4. Unit of Brightness footlambert (FL)

TUBULAR LIGHTS
• Tubular lights also known as solar tubes, are light INCANDESCENT LAMPS
channels that allow light to enter from the roof and be • The incandescent lamp is a thermal radiator.
reflected using mirrors into a home. They have become
more popular for top lighting in recent years. This is • The filament wire begins to glow when it is heated to a
largely because they can be installed in retrofit projects sufficiently high temperature by an electric current.
easier than skylights and are cheaper for the
homeowner. • As the temperature increases the spectrum of the
radiated light shifts towards the shorter wavelength range
REDIRECTION DEVICE – the red heat of the filament shifts to the warm white
• Redirection Devices take incoming sunlight and direct it light of the incandescent lamp depending on lamp type
towards the ceiling space. They aim to reduce glare and and wattage the temperature
to increase daylight penetration. These devices typically
take on of two forms: louvered systems or a large
HALOGEN LAMP
 • The halogen light bulb or lamp is a type of incandescent • High-voltage fluorescent tubes have a considerably lower
lamp which uses a halogen gas in order to increase both luminous efficacy than
light output and rated life. They are known for moderately
high efficiency, quality of light, and high rated life • Conventional fluorescent lamps, but they have a long
compared to regular incandescent lamps. lamp life.

• Halogen lamp for mains voltage with screw cap and outer
envelope. The outer envelope means that the lamp can • LOW-PRESSURE SODIUM LAMPS
be operated without a protective glass covering. Low- Low-pressure sodium lamps are comparable to
voltage halogen lamp with pin base and axial filament in fluorescent lamps in the way they are constructed and
a quartz glass bulb how they operate. In this case sodium vapour is excited
instead of mercury vapour.
• Halogen cycle: combination of evaporated tungsten and
halogen to produce tungsten halide in the peripheral • HIGH-PRESSURE MERCURY LAMPS
area. Splitting of the tungsten halogens back to the High-pressure mercury lamps have a short quartz glass
filament. discharge tube that contains a mixture of inert gas and
mercury. Electrodes are positioned at both ends of the
DISCHARGE LAMP discharge tube. In close proximity
• In contrast to incandescent lamps, light from discharge
lamps is not produced by heating a filament, but by • SELF-BALLASTED MERCURY LAMPS
exciting gases or metal vapours. Self-ballasted mercury lamp with a quartz glass
discharge tube for high-pressure mercury discharge and
• The Discharge lamps are one of the reliable sources of an additional filament that takes on the function of pre-
artificial light energy, which fundamentally works by resistance and supplements the spectrum in the red
converting electrical energy to light energy by ionizing the range. The elliptical bulb is frequently provided with a
gas particles. Discharge lamp gained popularity, in the coating of light-diffusing material.
mid-twentieth century. The best part of the discharge
lamps, it can produce lights of different colors. • METAL HALIDE LAMPS
Metal halide lamps are a further development of mercury
• A fluorescent lamp, or fluorescent tube, is a low- lamps and are therefore similar to these with regard to
pressure mercury-vapor gas-discharge lamp that uses construction and function. Apart from mercury they also
fluorescence to produce visible light. An electric current contain a mixture of metal halides. In contrast to pure
in the gas excites mercury vapor, which produces short- metals, halogen compounds have the advantage that
wave ultraviolet light that then causes a phosphor coating they melt at a considerably lower temperature.
on the inside of the lamp to glow.
• COLOR
• A fluorescent lamp converts electrical energy into useful Each gas, depending on its atomic structure emits
light much more efficiently than an incandescent lamp. radiation of certain wavelengths, its emission spectrum,
which determines the color of the light from the lamp. As
• Compact fluorescent lamps are mainly available in the a way of evaluating the ability of a light source to
form of tubular lamps, in which each lamp has a reproduce the colors of various objects being lit by the
combination of two or four discharge tubes. source, the International Commission on Illumination
(CIE) introduced the color rendering index (CRI). Some
• A high-intensity discharge (HID) lamp is a type of gas-discharge lamps have a relatively low CRI, which
electrical lamp which produces light by means of an means colors they illuminate appear substantially
electric arc between tungsten electrodes housed inside a different from how they do under sunlight or other high-
translucent or transparent fused quartz or fused alumina CRI illumination.
arc tube. Compared to other lamp types, relatively high
arc power exists for the arc length. Examples of HID LUMINAIRES (OR LIGHTING FIXTURES)
lamps include mercury-vapor lamps, metal halide lamps, • Luminaires or Lighting Fixtures are devices which
ceramic discharge metal halide lamps, sodium vapor supports the source or sources of electric light and
lamps and xenon arc lamps redirects or helps to control the light rays from the
source. Control of the rays is necessary to secure even
• HID lamps are typically used when high levels of light distribution, to avoid glare, to cut-off direct rays to the
and energy efficiency are desired. eyes, and eliminates disturbing reflection of the rays from
polished surfaces.
 o 90% - 100% of the light output is directed
• LIGHTING FIXTURE downwards
o Ceiling-Mounted Downlights
o Spotlights • SEMI-DIRECT
o Pendants o 60% to 90% of light is directed downwards;
o Wall Lights while 40% to 10% is directed upwards.
o Task and table Lights
o Floor Lights • GENERAL DIFFUSE OR DIRECT-INDIRECT
o Fluorescent Fittings o provides approximately equal distribution of light
o Oddities upwards and downwards.
o Exterior lights
• SEMI-INDIRECT
• Louvred luminaires o 60% to 90% of the light is directed upwards;
o Louvred luminaires are designed for linear light 40% to 10% downwards.
sources such as fluorescent lamps or compact
fluorescent lamps. Their name derives from their • INDIRECT
anti-dazzle attachments that may be anti-glare o 90% to 100% of the light output is directed
louvres, light controlling specular reflectors or towards the ceiling and upper walls of the room.
prismatic diffusers.
LIGHTING SYSTEMS
o Being fitted with linear light sources of low luminance 1. CORNICE LIGHTING
louvred luminaires produce little or no modelling a system where light sources are shielded by a panel
effects. They generally have wide-beam light parallel to the wall and attached to the ceiling to distribute
distribution, with the result that louvred luminaires light downwards over the wall. This is considered as
are predominantly used for lighting wide areas direct lighting.

2. COVE LIGHTING
• Mounting options for louvred luminaires: recessed a system where light sources are shielded by a ledge to
ceiling, surface, mounting on tracks, walls, floor- distribute light upwards over the ceiling and upper wall. It
standing or pendant mounting is a form of indirect lighting.

• Wallwashers 3. VALANCE LIGHTING

illuminate walls and depending on how they are designed a system where light sources are shielded by a panel
– also a part of the floor. Stationary wallwashers are parallel to the wall usually across the top of a window.
available as recessed and surface-mounted luminaires. This provides light both upwards and downwards over
the wall.
• Spotlights
Spotlights are the most common form of movable LIGHTING METHODS
luminaires. They illuminate a limited area, with the result 1. LOCAL LIGHTING
that they are rarely used for ambient lighting but • method which employs lamps at definite points
predominantly for accent lighting. In view of their where light is specially needed producing pools
flexibility with regard to mounting position and light of light mingled with areas of shadows. It is the
direction, they can be adjusted to meet changing very opposite of uniform illumination. The
requirement location of lamps in this method usually
depends upon the position of furniture or the
• BASIC LIGHTING TECHNIQUES position of activity areas.
Depending on the specific lighting project, there may be
a number of conditions that determine the lighting layout. 2. GENERAL LIGHTING
The first is related to the particular lighting tasks. • this method strives for diffused light and uniform
intensity over an entire area. The lamps are
Differentiated lighting for different parts of the room or evenly spaced without regard to furniture
functional areas may result in the luminaires having to be location and are provided with reflectors, baffles
arranged accordingly, e. g. the arrangement of or diffusing prisms to prevent glare, harsh
downlights above a seating area or the positioning of shadows and uneven illumination.
downlights and floodlights in a modern control room

CLASSIFICATION OF LUMINARIES 3. COMBINED LOCAL AND GENERAL LIGHTING

• DIRECT (SOMETIMES CALLED LOCALIZED LIGHTING)
 • provides sufficient general lighting to illuminate surface from a variety of directions
various objects in the room and at the same thus eliminating shadows and streaks
time furnishes additional local lamps at desks, of brilliancy. Poor diffusion results from
reading tables, showcases and other equipment illumination from one direction only
needing additional illumination. thus causing visual confusion because
of distorted highlights and shadows.

• ABSENCE OF GLARE
• Glare is defined as the effect of
brightness in the field of vision which
causes annoyance or discomfort, or in
worse cases, interferes with seeing.
When the glare is caused by light
sources in the field of vision, it is
known as “direct glare” or “disability
glare”. When glare is caused by the
reflection of a light source in a viewed
surface, it is known as “reflected glare”
or “discomfort glare”.

• Bare lamps or brilliant fixture globes

should never be in the line of sight
from any point in the room. An angle of
45 deg. between the horizontal and the
FACTORS WHICH WILL ACHIEVE DESIRABLE SEEING line of sight (line from the lamp to the
CONDITIONS eye) is generally accepted as the
1. Intensity of Illumination intensity of light required will greatest permissible angle.
depend upon the tasks involved as follows
a) for casual work, as in conferencing, interviewing
and inactive filing – 10 to 30 fc POSSIBLE SOLUTION TO DIRECT
b) for moderate work, as in intermittent filing and GLARE
general clerical work – 30 to 50 fc o Diffused light emanates from broad or
c) for prolonged work, as in active filing, index multiple light source and reflecting
referencing and mail sorting – 50 to 100 fc surfaces. It produces fairly uniform
d) for precision work, as in accounting, auditing, illumination with few shadows.
tabulating, bookkeeping, business machine o Directional light, on the other hand,
operation, reading poor reproductions and produces brightness variations and
rough layout drafting – 100 to 150 fc shadows which are necessary for the
e) for fine precision work, as in cartography, perception of shape, form and texture.
designing and detail drafting – 150 to 200 fc A mix of diffused and directional
lighting is often desirable
2. QUALITY OF LIGHT o The perceived color of a surface is the
Light Distribution depends upon: result of its ability to reflect or absorb
the color of the light falling on it.
• UNIFORMITY
• freedom from variations of illumination • COLOR OF LIGHT
in a room or space. Absolute uniformity • depends upon the type of lamp
signifies same intensity throughout and chosen. Incandescent lamps provide
it is not always practicable to attain. A yellow light; although there are many
deviation of 25% from the average other colors depending upon the color
intensity cannot be detected by the of their glass bulbs. Fluorescent lamps
eye, and is considered an acceptable have the greatest variety of colors
maximum. ranging from daylight to bluish white
and even pinkish white. Color is also
• DIFFUSION used to enhance certain qualities. For
• refers to the number of directions and example, de luxe FL lamps are used to
angles from which illuminating rays enhance food in restaurants.
proceed. Good diffusion is obtained
when light falls upon a matte or satin
LIGHTING TERMS
13. FILTER
1. ABSORPTION device which changes either amount or color, or both. of
Loss of light when light rays strikes or traverses any light passing through it.
medium. The ratio of light absorbed by a material to the
light falling upon it is called the “absorption factor” or 14. DIMMER
“absorptance”. a device to control the amount of light by reducing the
voltage or the current; also called a “rayostat”.
2. DIFFUSE REFLECTION 15. CAPACITOR
a beam of light is reflected diffusely, that is, its ray is An electric component which consists of conducting
scattered in all directions, if it strikes a rough or matte plates insulated from each other by a layer of dielectric
surface. material; introduces capacitance into a circuit.
Capacitance is the quantitative measure of the electric-
3. SPECULAR REFLECTION energy storage capability of a capacitor; usually
a beam of light is specularly reflected when a light ray measured in farads or microfarads.
striking a shiny or glossy surface at an angle of incidence
is reflected as the same beam with equal angle of
reflection.

4. REFLECTANCE
also called “reflection factor”; it is the ratio of light
reflected by a surface to the light falling upon it.

5. TRANSMISSION
is the passage of light through a medium when light falls
upon a transparent material. It is “refracted” (bent) as it
passes through the material but emerges at the same
angle that it entered. When passing through a translucent
material, such as plastic, and the emerging rays are
spread in all directions, it is called “diffused
transmission”.
WHAT IS MEPFS?
6. TRANSMITTANCE - MEPFS is an acronym that stands for Mechanical,
also called “transmission factor”; it is the ratio of light Electrical,Plumbing and Firefighting System and it refers to the
transmitted to light striking the surface. design system that includes the building of a safe and functional
structure
7. ACCENT LIGHTING
directional lighting to emphasize a space or an object.
MECHANICAL
8. DOWN LIGHT - There are several types of mechanical systems that are used in
a fixture producing concentrated direct lighting from a residential, commercial and industrial buildings. However, three
single bulb. It may be recessed in or mounted on the types account for a lot of the mechanical design work in
ceiling. commercial constructions, which are as follows:
– Space heating
9. HIGH HAT – Air conditioning
a term often applied to a can-type of recessed – Mechanical ventilation
incandescent downlight. Such systems interact with each other to keep
temperature and humidity within a range that’s
10. EYE BALL comfortable for inhabitants. In particular, mechanical
recessed or semi-recessed lighting unit with a rotating ventilation also ensures that enough fresh air is supplied
spherical element that may be turned to project light in to keep pollutant concentrations at low and safe levels.
any direction.
- With regards to equipment capacity, these mechanical
11. LUMILINE installations operate at their best when capacity is adequate.
a tubular fluorescent lamp with a disc base at each end. There’s a mistaken belief that over-engineering is a good thing.
However, oversized boilers and chillers tend to cycle rapidly,
12. LUMINANCE CEILING creating a fluctuating room temperature and a wearing down of
a false ceiling of diffusing material with light sources equipment at an accelerated pace
mounted above
 Electricity is the most prevalent form of energy in a modern
MECHANICAL SYSTEM building. Electricity supplies electrical outlets and lighting fixtures.
- Likewise, over-engineering also leads to poor control of indoor Ventilation, heating, and cooling equipment depends upon
humidity. It’d been recommended that relative humidity be kept electrical energy. Electricity provides energy for elevators and
between 30% and 60% to make such spaces optimal for human material transporters, and energy for signal and communication
occupancy. If humidity falls outside this range for extended equipment.
periods, then the low humidity can end up irritating the skin and Lighting is the major user of electrical energy in most buildings. In
airways, while high humidity results in the growth of mould and commercial buildings, motors are the second heaviest user of
bacteria. electrical energy, for heating, ventilating, and air-conditioning
(HVAC) systems, plumbing pumps, elevators, and most industrial
- -Mechanical design also involves laying out optimal routes for processes. Working with the building’s architect and engineers,
heat distribution systems like air ducts, hydronic piping or steam you, as the interior designer, are responsible for seeing that power
piping. If combustion appliances are used – a common problem is available where needed for your client’s equipment, and for
that happens when MEP systems are designed in isolation that we making sure that the lighting and appliances are appropriate and
mentioned earlier – then these appliances must be properly energy efficient.
vented to ensure that harmful combustion products are removed.
ELECTRICAL SYSTEM DESIGN PROCESS
Heating, Ventilating and Air-Conditioning (HVAC) System Engineers start the process of designing electrical systems by
- A heating, ventilating, and airconditioning (HVAC) system estimating the total building electrical power load. They then plan
integrates mechanical equipment into one complex system that is the spaces required for electrical equipment such as transformer
designed to provide thermal comfort and air quality throughout a rooms, conduit chases, and electrical closets. The amount of
building. energy a building is permitted to consume is governed by building
codes. A building energy consumption analysis determines
- There are limits to what can be accomplished without whether the building design will meet the target electrical energy
mechanical systems. It is difficult to get the building itself to budget. If not, the engineer must modify the electrical loads and
provide adequate air motion for comfort when temperatures reconsider the projected system criteria. The engineer will
exceed 31°C (88°F). Without some way to remove humidity from incorporate energy conservation devices and techniques and draw
the air, buildings are clammy in summer and mold becomes a up energy use guidelines to be applied when the building is
serious problem. It is difficult to filter air without the use of fans. All occupied. These techniques depend upon the day-to-day
this leaves the mechanical designer with the job of deciding voluntary actions of the building’s occupants, which are hard to
whether mechanical equipment willsupplement and modify determine during the planning phase.
conditions occasionally, always modify and control the interior
environment, or permanently exclude the outdoor environment. Interior designers are also responsible for showing electrical
system information on their drawings (Fig.27-4). The electrical
How does HVAC affect the Interior Design? engineer uses the interior design drawings to help design the
- Uniformity in the design of the building has implications for the electrical system. The interior design drawings often indicate all
HVAC system and for the interior design of the building. Uniform electrical outlets, switches, and lighting fixtures and their type.
ceiling heights, lighting placement, and HVAC grille locations Large equipment and appliances should be indicated, along with
increase flexibility in office arrangements and extend the building’s their electrical requirements. Communication system equipment,
useful lifespan. Four basic types of office space can be like public phones, phone outlets, and related equipment, and
interchanged within a flexible overall plan. These include enclosed computer outlets are shown. In new buildings, the location and
offices; bullpen offices with repeated, identical workstations with size of equipment rooms, including switching rooms and electrical
desk-height dividers; uniform open plan offices with higher closets, should be coordinated with the electrical engineer.
partitions; and free-form open plan offices with partitions of
varying heights. However, uniformity in ceiling lighting, air PLUMBING SYSTEM
handling, and size can make design of connecting corridors, Plumbing is any system that conveys fluids for a wide range of
lounges, and other support services difficult. applications. Plumbing uses pipes, valves, plumbing fixtures,
tanks, and other apparatuses to convey fluids.Heating and cooling
- The design of the air-circulation and ventilation system interacts (HVAC), waste removal, and potable water delivery are among the
with the layout of furniture. Even furniture like filing cabinets and most common uses for plumbing, but it is not limited to these
acoustic screens less than 1.5 meters (5 ft) high can impede air applications.
circulation, especially if they extend to the floor. Some sources
recommend an open space of at least 25 to 51 mm (1–2 in.) at the DISTRIBUTION SYSTEM
base for furniture pieces, with 152 mm (6 in.) allowing even better In small, low buildings with moderate water use, the pressure from
airflow. If walls or full-height partitions enclose spaces, each water mains or pumped wells is adequate to get the water to its
enclosed space should have one supply vent and one return or highest point. This is called up feed distribution. The resulting
exhaust vent. pressure is usually more than is required at the fixtures. If it
causes splashing at a lavatory, a flow restrictor can be used in the
ELECTRICAL SYSTEM faucet outlet. In medium-sized buildings where the pressure from
the street main is inadequate, pumps provide extra pressure. This Wet Fire Sprinkler System
is referred to as pumped up feed distribution. In hydropneumatics A wet fire sprinkler system is one of the most common options on
systems, pumps force water into sealed tanks. Compressed air the market. In a wet fire sprinkler system, water is always in the
then maintains the water pressure. Downfeed systems raise water line. When a fire is present, the heat causes the core of a sprinkler
to storage tanks at the top of a building, from which it drops down head to burst. This discharges water from the affected sprinkler
to plumbing fixtures. The rooftop storage tanks may have to be head. In a wet fire sprinkler system, not all sprinkler heads are
heated to prevent freezing. The water in a rooftop storage tank is activated at once — only those that are exposed to fire will
also available for fire hoses. discharge

SEWAGE DISPOSAL SYSTEM Dry Fire Sprinkler System

With the advent of readily available supplies of water inside the A dry fire sprinkler system is filled with pressurized air, rather than
house, water began to be used to flush wastes down the drain. water. These sprinklers are designed only to release water to the
Water pipes from sinks, lavatories, tubs, showers, water closets pipes when the sprinkler heads are activated. Though this does
(toilets), urinals, and floor drains form a network drained by gravity add to the fire response time, this is a necessary feature for
(Fig. 10-1). In order to preserve the gravity flow, large waste pipes unheated buildings and properties, like warehouses in the north,
must run downhill, and normal atmospheric pressure must be outdoor parking garages, and other applications where
maintained throughout the system at all times. Cleanouts are temperatures are low and pipes are at a high risk of freezing.
located to facilitate removal of solid wastes from clogged pipes.
Preaction Fire Sprinkler System
VENT PIPING Preaction fire sprinkler systems combine the flexibility of a wet
The invention of the trap helped to keep sewer gases out of system with the complexity of a dry system to protect high-value
buildings. However, traps were not foolproof. When water moving goods in buildings like museums and libraries. Like a dry system,
farther downstream in the system pushes along water in front of it preaction fire sprinkler systems are filled with air. Unlike dry
at higher pressures, negative pressures are left behind. The systems, however, preaction systems are actuated by a preceding
higher pressures could force sewer water through the water in fire detection event — the activation of a smoke or heat detector.
some traps, and lower pressures could siphon (suck) water from This extra detection step helps to reduce the damage associated
other traps, allowing sewer gases to get through (Fig. 10-3) with water spouting in the case of a mechanical failure of a false
alarm.
Vent pipes are added to the waste piping a short distance
downstream from each trap to prevent the pressures that would STANDPIPES
allow dirty water and sewer gases to get through the traps. Vent Much like automatic fire sprinklers, standpipes are built into the
pipes run upward, join together, and eventually poke through initial construction of a building. They are installed in the stairways
theroof. Because the roof may be several floors up and the pipes of buildings that exceed a certain height or size, but can
may have to pass through other tenants’ spaces, adding vent sometimes be located throughout the walls of the entire structure,
pipes in new locations can be difficult. The vent pipe allows air to providing coverage on every floor. These standpipes provide
enter the waste pipe and break the siphoning action. water flow to hose valves, which, much like fire hydrants,
firefighters can connect fire hoses too. Much like fire hydrants,
FIRE PROTECTION SYSTEM firefighters can utilize this connection to spray water from the
Fire protection systems are standard building features that either building’s main water source from any floor they may need to.
actively or passively help to control the amount of damage that
can occur to a building and protect its occupants in the event of a There are three classes of the standpipe. Class I Systems [2-1/2″
fire. The structural integrity of a building can be compromised by hose connections] are provided for use by fire departments and
extreme heat and a fire reaching critical weight-bearing points. those trained in handling heavy water streams. In high rise
buildings without sprinklers and beyond the reach of fire
Active fire protection systems include features such as automatic department ladders, Class I systems provide water supply for the
fire sprinklers and fire alarm systems. In general, they work to primary means of fire fighting, i.e. manually. Class II Systems [1-
contain the spread of the fire with the action of dispersing water or 1/2″ hose lines] are provided for use by trained building occupants
other compounds water or alerting occupants to its presence. until the fire department arrives. Class III Systems shall provide [1-
These features are crucial to a building’s safety, and often 1/2″ (38mm)] hose stations to supply water for use by trained
required by local codes as a precautionary measure in any office building occupants and [2-1/2″ (64mm)] hose connections to
or public space. Passive fire systems contain fires without taking supply a larger volume of water for use by fire departments and
action by utilizing building compartmentalization through the use those trained in handling heavy water streams
of fire-resistant walls, doors, and coatings.
FIRE DEPARTMENT CONNECTIONS
Fire Sprinklers - The sprinkler is a plug that holds back water in a Fire department connections are utilized by the firefighters on the
pipe similar to your other plumbing pipes. Heat from a fire will scene to either supply water to the standpipes or supplement the
break a glass tube or melt a solder plug which releases the water. building’s already existing water supply. This additional water can
be sourced from the fire truck itself or from a hydrant that can tap
TYPES OF SPRINKLER SYSTEM: into the water the building’s standpipes may not have access to.
These are usually included in the initial creation of the standpipes able to effectively communicate even if the fire has damaged the
in order to provide an extra source of water to the building electrical integrity of the building

FIRE ALARM SYSTEMS INTERIOR FINISHING MATERIALS

Fire alarm systems are put in place in order to alert a building’s
occupants in the event of a fire. These are installed in every room INTERIOR FINISHING MATERIALS
of a building and are highly regulated by fire safety laws. Finishing can be defined as the final layer which protect and fix
Generally, these can be automatic or manual alarm systems. the surface of the building elements. This layer plays an important
Automatic alarm systems can detect heat or smoke and emit a role in visual and psychological definition of interior space. At the
high-pitched alarm throughout the building. Manual alarms must period of traditional building techniques; buildings were usually
be pulled by a building’s occupants, and include simple produced by traditional materials such as stone, wood and adobe.
instructions on how they can be used. Both types of alarms can They were used uncoated or sometimes plastered. After the
emit a visual cue as well, seen as a bright flash every few transition to modern building techniques; the building section got
seconds. thinner and new layers had to be added in order to provide
comfort requirements. Consequently finishing layers were needed.
SMOKE CONTROL SYSTEMS The main purpose of finishing layer is to fix the surface. Also it is
Through the application of both physical barriers and mechanical essential to coat wall, floor and ceiling in order to create a suitable
systems, smoke control systems work to limit the spread of smoke appearance and to protect the construction from effects of water,
through a building, ideally limiting the amount of damage the heat, moisture, abrasion
smoke can do to both the building and its occupants.
CONCRETE AND CEMENT BASE MATERIALS
The mechanical systems of smoke control include fans, dampers, Cement is the most common binding material nowadays.
doors, and shutters that all work together to isolate and contain According to various sources; natural cement was produced BC
the spread of smoke. These are generally installed in the initial 7000 and artificial cement was produced BC 5600. But the cement
construction of a building as well, and work in conjunction with used today is based on 1824 (Binggeli, 2008).
sprinkler systems to prevent as much damage as possible to the
structural integrity of a building. Terrazzo floor is formed from a mixture of small stone
pieces and cement mortar created from marble flour and
FIRE COMMAND SYSTEMS color pigments.
In order to achieve unity and a systematic approach to the
containment of a fire, many buildings utilize a fire (or incident) Cement tile, is a layered tile produced from cement,
command system. These systems are highly beneficial in sand and oxide paint. The upper layer is paint. Desired
evaluating, maintaining, and communicating the vital aspects of colors and patterns can be created with the oxide paint.
the fire, as well as providing updates in real-time. Incident The second layer below paint has a high cement factor;
command systems are used in more than just fires, and the last layer is produced from a regular cement mortar
emergency services generally use them to communicate and
understand a number of different emergency-type situations EARTH-BASED MATERIALS
outside of fire control. Earth-based materials are used in the building because they can
easily be found since the prehistoric times. Ceramics which are
POST FIRE SMOKE PURGE baked at high degrees are used as the earth-based finishing
Similar to smoke control systems, the post-fire smoke purge materials at the building. The most significant property of the
involves a series of fans and shutters that help to eliminate the baked earth-based materials is their high heat insulating ability. In
smoke from a building and can include automatic ventilation from addition, they are light and resistant to chemicals and high
windows and doors to flush smoke from a building, preventing temperature. The biggest disadvantage of the material is their
further damage. Although the fire has been extinguished, smoke fragility
can still cause harm to a building, making it unfit for occupancy, so
post-fire smoke purge systems are just as vital as other fire Types of Ceramic Tiles
protection systems Glazed
Unglazed
AUXILIARY RADIO COMMUNICATION SYSTEMS (ARCS) Porcelain
An auxiliary radio communication system (ARCS) provides clear,
reliable communication for firefighters who may be separated by GLASS
smoke, thick walls, or other standard radio interferences. These Glass is used since prehistoric times and it is defined as a kind of
systems are installed within a building, including a base station, ceramic. It had been used for producing ornaments in prehistoric
radio consoles, radiating cables, antennae, and power supplies. times. Later it has started to be used as structural purposes. Glass
ARCS include two very distinct features: they need to be both was first used in the windows to make the connection between
wireless and bidirectional. They also operate continuously, even in interior and exterior spaces. Later, with the emerging
power outages, to ensure that the firefighters on the scene are technologies, it has started to be used in large sizes and for
different features in different parts of the structures (Binggeli, soften and melt when they are heated without breaking down
2008). (Binggeli, 2008)
Glass is formed by melting the ingredients together at high
temperatures, shaping and annealing of the material. Usually Plastics are used as panels, sandwich panels, stretch ceilings,
floating method is used for shaping the structural glass. Glass is polymer and epoxy floors in interior space. Polymer panels can be
used in interior spaces as glass brick walls, floor tiles and produced in desired width and color from PVC, acrylic and
mosaics. Also, glass foam can be used on walls for acoustic polycarbonate. They are installed to a construction system.
purposes Sandwich panel is a structure made of three layers. It has a low
Ex. Glass block wall density core inserted between two relatively thin layers. It has a
high mechanical performance. The sandwich panels are often
TYPES OF GLASS used in prefabricated buildings. Sandwich panels are applied in a
• Stained glass similar manner with the other interior coating panels (Toydemir et
• Textured glass al, 2000)
• Laminated Glass
NATURAL STONES
• Annealed Glass Natural stones are obtained by cutting the solid layer under the
• Patterned Glass soil. It has been used as a structural and coating material in
• Glass Block building for centuries. It is preferred because it is resistant to
• Toughened Glass environmental factors, has a high abrasion resistance, impact
• Float Glass strength and has a low absorption rate.
• Decorative Glass TYPES OF NATURAL STONE USED AS FINISHES
• Granite
METALS • Marble
Metals are resistant and shiny materials obtained from the mines. • Slate
Metal has a high heat and electric conductivity due to its regular • Limestone
atomic structure. This also leads to a high compression and
• Sandstone
tension strength value. The most important problem about metal is
corrosion reasoned from water vapor and oxygen. This can be • Quartzite
solved by periodic painting or using alloys. Alloys are obtained by
melting and mixing two or more metals in order to increase the TEXTILES
strength and resistance of metal Textile is used as carpets and upholstery fabric for furniture and
curtains. For this purpose wool, cotton, linen, leather are used;
TYPES OF METAL polymers such as nylon and perlon can also be used.
Carpet is used for floor coating in the residential and working
• Iron spaces. The carpets are divided in two different groups; woven
• Mild Steel and non-woven carpets. In recent years polymer-based non-
• Copper woven carpets are preferred for their high sound absorption
• Aluminium values and economic reasons. They are produced in rolls or tiles
• Stainless Steel and applied to the floor with glue
• Copper
• Zinc WOOD AND WOOD COMPOSITES
Wood is the material obtained by sawing tree trunk. The
• Gold properties of the wood are directly affected by many things such
as the geographic area where the tree is grown, climate,
POLYMERS OR PLASTIC
orientation, amount of the water in the soil. Therefore each
Plastic is produced by processing carbon (C) with hydrogen (H),
material produced from wood has its own characteristics
oxygen (O), nitrogen (N) and other organic or inorganic elements.
Plastic is not found in nature, but obtained by the treatment of
TYPES OF WOOD USES IN FINISHES
natural elements. Plastics were firstly produced and used in the
late 19th century. The high resistance against environmental
Hardwood Strip Laminates
factors, low cost and the unlimited production forms has increased
Softwood Melamine Coated Wood
its usage area and production amounts.
Plywood Cork
Tongue and Groove Willow
Polymers are divided into two groups according to their thermal
Veneers Medium Density Fiber
behavior; thermosets and thermoplastics. Thermosets doesn't
Chipboard Hardboard
soften and melt when they are heated, after a certain temperature
Laminated Butcher Block
they begin to break down. They can only be formed during
polymerization. Termoplastics are solid at room temperature. They
PAINT D. LACQUER
• Lacquer is made synthetically, and is closely
TRANSPARENT FINISHES related to rayon or nylon fabrics. It requires a
A. WOOD STAIN special thinner sold by each manufacturer for
• OIL WOOD STAINS his own brand.
Pigments are derived from various earth clays.
After they are dissolved in linseed oil, the • Average drying time is 1-1/2 hours. For fine
coloring particles remain suspended between lacquer finishes, a special undercoat of lacquer
the oil molecules. For spreading the color sealer is applied over a wash coat of shellac.
particles over large surfaces, the ground oil
color is thinned with turpentine. • After the sealer has dried, it is sanded or steel-
wooled to give the lacquer a gripping surface
• WATER STAINS
These are made from anilyne dyes and mineral
extracts which have been dissolved in hot OPAQUE FINISHES
water. A. Paint
Paint is a mixture containing a pigment and a vehicle.
• SPIRIT OR ALCOHOL STAIN
These are mixed with alcohol-solution anilyne The pigment is that solid, finely ground portion which
powders and warmed alcohol gives to paint the power to obscure, hide or color the
surface.
B. WOOD FILLERS
• PASTE FILLERS. The vehicle is the fluid portion of the paint. It carries the
Composed of silex (stone dust), japan-drier, particles of the pigment in suspension and by the
linseed oil, turpentine, and sometimes colors oxidation deposits and hardening binds them to painted
ground in oil Filler is applied with the grain and surface or by evaporation deposits them thereon.
allowed to dry “flat” for about 10 minutes. It is
then wiped off across the grain with burlap or
some other coarse material. Paste fillers The type of solvent used in a paint determines whether it is a
requires about 24 hours for drying before it can - water-base paint (where the solvent is water) or
be sanded. - oil-base paint (where the solvent is an organic liquid)

INTERIOR DESIGN MATERIALS: CATEGORY OF PAINTS BY

• CRACK FILLERS. FINISHES
Plastic wood putty, stick shellac, etc. They are
used for filling nails holes, cracks and dents.
MATTE
Finish These paints are glossier and more durable than flat paints.
C. VARNISH
Since it has slightly better longevity, it is advisable for surfaces
• It is a resolution of resin in drying oil (oil varnish) with high traffic. Although it might not be an optimal solution, it is
or in a voltatile solvent such as alcohol or still a little better than flat paints. It is preferable to be used on
turpentine (spirit varnish). It contains no pigment ceilings as it saves money.
and hardens into a smooth, hard and glossy
coat by the oxidation of the oil or by the EGGSHELL
evaporation of the alcohol. Eggshell paints are paints that offer a low shine level. It is glossier
than matte paints but has less sheen than satin paints. It is flat,
The chief resins used in varnishes are but with a slight gloss to it. It is durable, affordable, and popular. It
- copal of African fossil gums; is easier to clean since it can be washed with a damp towel
- dammar or resins from Singapore and the East Indies;
- the residue left under the extraction of turpentine from SATIN
pine resins, and rosin esters, obtained by t reating resin Satin has a lustrous and velvety feel. These paints are not too
with glycerine to make it waterproof when dry. shiny and not too flat. They have more glow than eggshell paints
In general, oil varnishes are more durable than spirit but less than semi-gloss paint. It is durable, washable, easy to
varnishes. Spirit varnishes are either dammar varnish, handle, and also less expensive. It is used for painting hallways,
mad by treating dammar resins with turpentine, or shellac doors, woodworks, bedrooms, dining rooms, and almost any other
varnish, made by dissolving white or orange shellac in type of space. The appearance of satin paints depends on the
grain alcohol. They dry by the evaporation of the solvent lighting conditions of a particular room. Although easy to clean, it
is advisable to not scrub it abrasively, as that may lead to a loss in
sheen level.
SEMI-GLOSS PAINT flat or bland to having a certain character and depth on a limited
These paints are mostly used for kitchens and bathrooms budget
because of their high durability. The more reflective and can be
fully scrubbed. Because of its high luster level, these paints make
the flaws on surfaces very visible. Even though it is easy to clean,
it is recommended to clean it carefully

GLOSSY
High gloss paint is eye-catching and fits well in many designs
because of the high sheen that gives it a mirror-like finish. It is
easy to wash and can be scrubbed intensively without a second
thought. It can be used in ceilings and furniture. It can also be
used for walls, but one will just have to be prepared for the high
level of reflectivity that makes the flaws apparent. As beautiful as it
is, it is harder to apply. It is advised to use foam rollers for the
minute spots.

CHALKBOARD
It is mandatory to apply primer on the walls before chalkboard
paint is applied. This wall can later be used as a standard
chalkboard after the painting is done. This paint is available in
almost all colors. Upon application of this paint, the surface
becomes hard and scratch-resistant. It can wood, metal, drywall,
glass, concrete, and more

FAUX FINISHES
Faux finishes or faux painting has two different application
methods. The first is where translucent paint mixture is applied
and glaze is applied on top with roller, brush, or sponge. Even
though it imitates textures, it is normally having a smooth effect.
Another method involves the application of tinted plasters which
are washed over with earth pigments. A trowel or spatula can be
used for its application. The end product can either be smooth or
textured. These techniques are used to restructure a room as it
adds more light and depth, changing a wall’s appearance. Here
are some examples of popular faux finish techniques.

MARBLE PAINT FINISH

For marble paint finish, a small amount of grey paint is used to
create bands by blending in the glaze. The grey color is smudged
on the walls and then smoothened out with a dry brush which
creates chunky wobbly paint strips which create a more realistic
effect. The softening of stripes can also be done with the help of a
rag, blotting, or sponge

SLAP BRUSH
This technique creates a unique appearance on the walls. It is
also known as ‘crows–foot, panda paw or stomp the brush’. The
texture can be created on a bare wall, but a prior painted wall
should be cleansed. It is prepared by basic drywall texture or mud.
The texture has a sunburst effect created by the bristles of the
texture brush. The depth of the creases is determined by the
sturdiness of the bristles of the brush.

RAG ROLLING
Rag rolling techniques are used for creating a major impact on the
walls. In this technique, a distorted or huddled piece of cloth is
used to paint the walls by dragging them off irregularly. This adds
a sense of detail to a space. It also hikes up a place from being