ARCHITECTURAL INTERIORS AND INTERIOR DESIGN
KEY CONCEPTS
•
Definition (RA 9266): The art, science, or profession of
planning, designing, and constructing buildings.
•
Britannica Definition: The art and technique of designing
and building to meet both utilitarian and aesthetic needs.
•
Distinguishing Characteristics:
1.
Suitability for human use.
2.
Stability and permanence of structure.
3.
Expression of experience and ideas through form.
•
Notable Works:
o
Karntner Bar (American Bar), 1907
o
Manz Bookstore
Design Philosophy:
o
Detached from exterior architecture.
o
Emphasized classical interiors and modernist
critique.
o
Developed Raumplan—spatial planning method
seen in Villa Müller (Prague).
Interior Architecture: Greene & Greene
Interior Design
•
Interior Design: Adolf Loos
•
Architecture
•
SAMPLE WORKS
Definition (Britannica): Planning and design of man-made
spaces; part of environmental design; closely linked with
architecture.
•
Expanded Definition: The science and art of planning and
organizing surface finishes, furniture, fixtures, and decor to
enhance space use, movement, and character.
Gamble House (1909) – Pasadena, California
o
Example of Craftsman style.
o
Unified design: furniture, details, structure by
same architects.
o
Extensive use of wood joinery, fine
craftsmanship, and consistent detail inside &
out.
Interior Architecture
•
A discipline blending architecture and interior design,
involving:
o
Detail and spatial planning of interior spaces.
o
Consistency between exterior and interior
architecture.
o
Holistic design language: scale, proportion,
material, sequence.
•
Legal Reference: RA 9266 Sec 3(4)(g) and 14(3) – Includes
renovation, retrofit, and architectural layouting of indoor
spaces and systems.
•
Emergence: Term popularized in the 1970s in response to
vague interpretations of “interior design.”
•
Global Perspective: Heavily focused on adaptive reuse
and sustainable repurposing of built environments.
Interior Architecture: Louis I. Kahn
•
Yale Center for British Art (1969)
o
Use of natural materials: travertine, white oak,
linen.
o
Courtyard-based design, with natural lighting
and geometric clarity.
o
Example of monumental modernism with
human-scale interior experience.
GLOBAL PRACTICE & PROCESS
Interior Architecture in Practice
•
Focuses on remodeling and adaptive reuse.
•
Plays a key role in sustainability.
Design Process Stages
ARCHITECTURAL INTERIORS
“Architecture is the art and science of building. Interior design should
not be distinct from architecture.”
— David T. Jones, Architectural Interiors (1962)
1.
Design Brief & Analysis – Understand client goals and
needs.
2.
Information Gathering & Conceptualization – Research,
site study, and early design.
•
Interior and exterior designs are interdependent.
3.
•
Interior Architecture extends architectural ideas inside the
building.
Design Implementation – Drawing, modeling,
specifications.
4.
Project Management & Execution – Construction
oversight, finishing, delivery.
•
Effective interior design communicates a building’s intent,
function, and character.
2. Cesar Concio Sr.
SUMMARY CHART
Term
Key Focus
Scope
Architecture
Whole building
design
Exterior & interior as
one
Interior Design
Space planning +
finishes
Aesthetic + functional
Interior
Architecture
Holistic spatial
design
Architectural integration
inside
HISTORY OF INTERIOR DESIGN
I.
•
3. Angel Nakpil
•
•
•
•
Architecture still dominated; interiors designed by
architects.
•
Ernest Komeld – Designed Temple Emil (1947, modernist
synagogue).
•
Arturo De Santos & Luis Ma. Araneta – Art collectors
influencing interiors.
UST’s Role:
•
Used native symbols in modernist architecture.
•
Notable: NBI Building, 1953 Philippine Pavilion.
6. Felipe Mendoza
•
Advocate of tropicalism; designs included the Church of
Jesus Christ of Latter-day Saints (Green Meadows).
7. Gabriel Formoso
“Interior decorators” – anyone doing furniture, curtains,
etc., even without formal education.
Notable Figures:
International projects: Ramon Magsaysay Center, WHO
Manila, IRRI, DOLE Plantation.
5. Otillo Arellano
Context:
Massive rebuilding after WWII destruction; funded by U.S.
aid and private investments.
Projects: National Press Club, PLDT Makati, Lopez
Museum, Roche Building.
4. Alfredo Luz
POST-WAR PERIOD & EARLY INTERIOR DESIGN (1946–1963)
•
Notable works: Palma Hall, Melchor Hall, Church of the
Risen Lord (UP Diliman), Insular Life Makati.
•
Projects: Bangko Sentral ng Pilipinas, Asian Institute of
Management.
8. Carlos Arguelles
•
III.
Studied at MIT; designed Philam Life Building, Manila.
THE EMERGENCE OF PIID (1964–1969)
Milestone Events:
•
First to introduce Interior Design as a Fine Arts major
(1954).
•
1964: First meetings at Jade Vine & Summit Restaurant,
Malate.
•
Key instructors: Ched Berenguer Topacio, Leticia Sablan
Limpo, Belen Sablan Morey, Sonia Santiago Olivares.
•
Founders: Lor Calma, Ched Berenguer-Topacio, Wili
Fernandez, Mel Gana, Rosario Luz, Edgar Ramirez, Antonio
Zamora.
Pioneers:
•
•
1970s Interior Design Trends:
Wilfredo “Wili” Fernandez, Leticia Sablan Limpo, Edith
Oliveros, Mercedes “Ched” Topacio.
Lorenzo Calma – Architect turned interior designer, Mapua
graduate.
Design Characteristics:
•
Start: High Modernism, industrial forms, bright colors.
•
Later: Neo-vernacularism, Ilustrado Style, Tropical
Modernism (e.g., rattan furniture).
Key Designers of 1970s:
•
Modernism: Use of concrete, steel, glass; no
ornamentation.
•
Edith Oliveros, Sonia Santiago Olivares, Mel Gana, Johnny
Hubilla, Gerry Contreras.
•
Influenced by U.S. and Latin American planning models.
•
New names: Duane Quintal, Boots Soler, Angelita Bondoc,
Ramon Antonio, Manny Castro, Luis Antonio.
II.
KEY POST-WAR ARCHITECTS & BUILDINGS
1. Federico Ilustre
•
•
IV.
PROFESSIONALIZATION & LAW (1970–1999)
1980s Design Climate:
Art Deco Quezon Memorial Monument (65m, Carrara
marble).
Manila International Airport (1951).
•
Townhouses/condos more common due to economic
instability.
•
Styles: Postmodernism, revivalism, techno-futurism
(inspired by Star Wars, Blade Runner).
Professional Milestones:
•
1982: BoID (Board of Interior Design) created under PRC.
•
1983: First licensure exams.
PIID Presidents in the 1980s:
•
Lor Calma (1980–81), Gerry Contreras (1981–83), Evelyn
Suarez, Jiro Estaniel, Nardy Aquino, Raymond Fuentes.
Notable New Designers:
•
V.
Tony Adriano, Roland Laurena, Budji Layug, Jiro Estaniel,
Edong Lazatin, Ogie Periquet.
RA 8534 (1998) & RA 10350 (2012): Interior Design Laws
RA 8534 – Signed 1998
•
Defined Interior Design as separate from Architecture.
•
Regulated exams, penalized unlicensed practice.
•
Required permits for foreign practitioners.
Architectural Interiors – Concepts and Principles of Interior
Design
I. The 6 Core Principles of Interior Design
1.
Balance
2.
Rhythm
3.
Harmony
4.
Emphasis
5.
Proportion
6.
Scale
II. BALANCE
Balance in design creates a feeling of equilibrium and involves the
visual weight of objects.
Types of Balance:
Type
Description
Example
Symmetrical
(Formal)
Mirror-image balance on
both sides of a central axis;
creates a sense of calm and
dignity
Two chairs on
each side of a
coffee table
Asymmetrical
(Informal)
Balance without exact
duplication; more dynamic
and interesting
A sofa
balanced by
two smaller
chairs
Radial
Elements radiate from a
central point
Round dining
table with
chairs around it
RA 7356 (1992) – Created NCCA:
•
Heritage preservation & grants.
•
Interior Design placed under the Subcommission on the
Arts.
RA 10350 – Enacted 2012
•
Updated provisions of RA 8534.
•
Addressed legitimacy of IDr title.
•
Grandfather Clause: Allowed experienced unlicensed
designers to apply for licensure.
Tools for balance: color, pattern, texture, and shape.
VI.
TERMS TO REMEMBER
•
PIID: Philippine Institute of Interior Designers
III. RHYTHM
•
BoID: Board of Interior Design
Rhythm is about movement and flow in a space, created through
patterns, repetition, and contrast.
•
RA 8534: First law recognizing Interior Design (1998)
•
RA 10350: Strengthened regulation of the profession (2012)
•
Grandfather Clause: Licensing provision for senior
practitioners
•
Neo-Vernacularism: Localized design language, tropical
materials
•
Ilustrado Style: Revival of upper-class Spanish-era design
motifs
•
Tropical Modernism: Integration of modern design with
climate-appropriate materials
Types of Rhythm:
Type
Description
Example
Repetition
Repeating elements like
color, shape, or texture
Repeating wood slats
on a wall
Alternation
Alternating two or more
elements in a regular
pattern
Light fixtures
arranged in an A-B-A
pattern
Progression
Gradual change in
elements (e.g., size or
color)
Gradation of ceiling
beams or lights
Purpose: Leads the eye through the room and introduces order and
interest.
•
Examples: standard countertop heights, chair sizes,
hallway widths.
IV. HARMONY
•
Harmony creates unity and consistency.
•
Achieved when all elements work together to convey a
cohesive idea.
VII. APPLICATION TIPS
•
Use Balance to establish visual stability.
•
Apply Rhythm to move the eye through the space.
•
Can use varied forms unified by one color, shape, or
material.
•
Achieve Harmony for consistency and calmness.
•
Results in a restful and comfortable space.
•
Create Emphasis for focal interest and drama.
•
Consider Proportion for visual appeal.
•
Adapt Scale for comfort and practicality.
V. EMPHASIS (Focal Point)
•
•
•
Every space needs a dominant feature to avoid feeling
scattered or boring.
I. Elements of Interior Design
Emphasis can come from:
o
Architectural features: fireplace, staircase,
windows
o
Furniture groupings or unique pieces
o
Color, lighting, texture, or placement
Creating contrast or interruption in rhythm enhances
emphasis.
1.
Space & Form
2.
Line
3.
Light
4.
Color
5.
Texture
6.
Pattern
Emphasis Techniques:
Type
Description
Example
Via Placement
Positioning focal items in
key locations (e.g.,
hallway ends)
Wall art at the end
of a corridor
Via
Color/Light
Using contrasting colors
or spot lighting
Teal staircase in a
law office
Via Elements
of Design
Highlight with texture,
scale, or directional lines
Focal point using
texture or
oversized items
VI. PROPORTION & SCALE
II.
Space & Form
•
Space is the 3D volume (length, width, height) that people
occupy.
•
Form is the physical mass or structure that defines space.
Types of Space:
•
Positive Space – Filled with form/mass (e.g., furniture,
walls)
•
Negative Space – Empty or open areas; breathing room in
the design
Proportion:
Balance between positive and negative space avoids
overcrowding or emptiness.
•
Refers to relationships between parts of a whole.
III.
•
Affects spatial perception (e.g., ceiling height to floor
area).
Lines define shapes, create boundaries, and guide the eye.
•
Golden Ratio, Fibonacci Sequence, and Le Corbusier’s
Modulor are classical systems for ideal proportions.
Scale:
•
•
Refers to size in relation to human scale or surrounding
objects.
Ensures usability and comfort in interior design.
Line
Types of Lines:
Type
Effect
Horizontal
Stability, formality, efficiency; makes a space appear
wider
Vertical
Freedom, strength, height; can make spaces feel
taller
Dynamic
Diagonal, curved, zigzag; adds movement and
energy but can overwhelm if overused
•
Helps create rhythm and visual interest.
•
Use with care — large patterns suit large spaces; small
patterns fit smaller spaces.
✔ Columns, stairs, furnishings can be used to express these lines.
IV.
ANTHROPOMETRICS, PROXEMICS, AND ERGONOMICS IN
ARCHITECTURAL DESIGN
Light
Light influences mood, color, perception, and texture in a space.
Types of Lighting:
Type
Function
Task Lighting
For focused activities (e.g., reading,
working)
Accent Lighting
Highlights objects or focal points
Ambient (Mood)
Lighting
Sets atmosphere and overall
illumination
•
Natural light is affected by openings, orientation, shading
devices, and form.
•
Light adds depth via shadows, reflections, and contrast.
V.
1. Anthropometrics
Definition:
Anthropometrics is the scientific study of human body
measurements (e.g., height, reach, weight) used to guide the design
of interior spaces, furniture, and equipment to accommodate
users safely and comfortably.
Key Idea: Buildings must adapt to the human body—not the other
way around.
Two Main Types:
Type
Description
Application
Static
Measures the body at
rest
Chairs, desks, beds,
clearance
Functional
Measures movement &
reach
Task design, workspace
layout
Color
Color affects emotion, perception, and spatial experience.
Applications in Design:
•
Lighter colors = more space, openness
•
Ensure comfort, usability, and accessibility
•
Darker colors = coziness, intimacy, power
•
Avoid crowding or strain in movement
•
Color can unify elements, set mood, and evoke
memories
•
Enable universal design: inclusive of children, elderly,
PWDs
Careful color selection can stimulate psychological responses
and transform a space.
VI.
Historical Context:
•
Renaissance artists like Leonardo da Vinci applied
anthropometric proportions in art (e.g., Vitruvian Man).
•
Measurements were based on cadaver studies to
understand ideal human proportions.
Texture
Texture adds depth, richness, and tactility.
Types of Texture:
Type
Description
Visual Texture
Perceived by the eye (e.g., patterned wallpaper)
Element
Clearance
Actual Texture
Felt by touch (e.g., rough brick, fluffy pillows)
Major walkways
90 cm (3 ft)
Between furniture & wall
45 cm (1.5 ft)
Between beds
75–90 cm
Bed to chest/drawer
90 cm
Dining per person
60 cm min
Behind dining chair
90 cm
Mixing textures can enhance interest and balance in a space.
VII.
Pattern
•
Patterns are decorative designs or motifs repeated across
a surface.
Important Standard Clearances:
Desk/piano access
90 cm
Ergonomics
Fit between person
and task
Workstations, tools,
safety
2. Proxemics
Definition: Study of how humans use space in communication and
interaction, developed by anthropologist Edward T. Hall.
Important in shaping interiors, buildings, neighborhoods
Space is culturally influenced and impacts behavior.
BP344 – Batas Pambansa Blg. 344
Title: “An Act to Enhance the Mobility of Disabled Persons”
Goal:
To ensure buildings, streets, and public transport are safe,
accessible, and usable by persons with disabilities (PWDs).
Application
Proxemic Zones:
Applies to:
Zone
Distance
Use
•
Public and private buildings and facilities
Intimate
0–46 cm
Hugging, whispering
•
Streets, highways, and public transport
Personal
46–120 cm
Friends, family
•
LRT stations and terminals
Social
1.2–3.7 m
Acquaintances, workplace
Public
3.7 m+
Presentations, lectures
3. Ergonomics
Definition:
Designing spaces, tools, systems to fit the physical and cognitive
needs of people.
Also known as human factors, ergonomics prevents injury and
increases efficiency.
Categories of Disabled Persons
•
Wheelchair users
•
Individuals using braces, crutches, or artificial supports
•
Visually or hearing-impaired
•
Senior citizens
•
Persons with mental impairments
Basic Planning Requirements
Importance:
1.
Accessibility
•
Prevents strain (e.g., lower back pain)
2.
Reachability
•
Enhances productivity in workspaces
3.
Usability
•
Adapts design for aging populations and users of different
sizes or needs
4.
Orientation
5.
Safety
6.
Workability & Efficiency
Ergonomic Considerations:
•
Workstations (e.g., desk height, monitor angle)
Liable Parties (If Not Implemented)
•
Furniture (e.g., lumbar support)
•
Owner
•
Equipment (e.g., reach zones, controls)
•
Architect
•
Engineer
•
Contractor
•
Building Official/Public Official
Summary Table
Concept
Key Focus
Application
Anthropometrics
Body measurements
Space planning,
furniture design
Proxemics
Use of space in
interaction
Layouts for
comfort/privacy
Wheelchair Dimensions & Maneuvering
•
Turning Radius: 1.50 m (minimum)
•
Maneuvering Space: 1.50 m x 1.50 m
•
Passing Space at Dead Ends: Provided every 3.50 m
o
Max. height: 1.20 m
•
Accessible Route Width: Minimum 1.20 m
o
At least 0.35 m from room corners
Entrances & Doors
Washrooms & Toilets (Public Use)
•
Accessible from arrival point
•
Clear Stall Size: 1.70 m x 1.80 m
•
If not level: Provide ramps
•
Turning Space: 2.25 sq.m (Min. 1.50 m diameter)
•
Vestibules: 1.80 m (depth) x 1.50 m (width)
•
Grab Bars:
•
Door Width: Min. 0.80 m
•
Clear level space before door: 1.50 m x 1.50 m
•
Corridor Width: Min. 1.20 m
•
Door Hardware Height: 0.82–1.06 m (preferred 0.90 m)
•
Kick plates: 0.30–0.40 m height
Ramps
•
o
Lateral: 1 fixed, 1 movable
o
Frontal: 2 fixed on both sides
Accessories & Fixtures: Should be at wheelchairaccessible heights
Key Concepts in Design for Accessibility
•
Ramps should blend with architectural design
•
Doors should open with minimal force (4 kg)
•
Floors and thresholds must avoid tripping hazards
•
Use tactile signage and visual cues for PWDs
•
Barrier-free design is both a legal and ethical responsibility
•
Minimum Width: 1.20 m
•
Maximum Slope: 1:20
•
Comfortable Slope: 1:16
•
Minimum Slope: 1:20
•
Max Ramp Length (1:12): 6.00 m (with landing)
•
Landing (if longer): Every 6.00 m, 1.50 m deep
•
Top & Bottom Level Area: 1.80 m
•
1 per set (if ≤20 total units)
•
Handrails on both sides: 0.70 m & 0.90 m heights
•
2 per set (if >20 units)
•
Curb height at ramp: Minimum 0.10 m
•
Vehicular traffic: Guardrail 1.80 m before road
8. Public Toilets & Washrooms
8.5 – Accessible Water Closets
8.6 – Signage for the Visually Impaired
•
Men = ▲ triangle (vertex up)
•
Women = ● circle
Corridors
•
Size: 0.30 m edge/diameter, 7.5 mm thick
•
Min. Width: 1.20 m
•
Contrast with door color, readable by touch
•
Turnabout Space: 1.50 m x 1.50 m every 12.00 m
•
Must include text or figures for fully sighted users
•
Dead End Turnaround: Required within 3.50 m
•
Slip-resistant surface required
Thresholds, Switches & Signages
8.7 – Water Closets
•
Max. height: 0.45 m
•
Flush control height: Max. 1.20 m
8.8 – Lavatories
•
Thresholds: Max height 25 mm (preferably ramped)
•
Max. height: 0.80 m
•
Switch Height: 1.20 – 1.30 m from floor
•
Knee recess: 0.60–0.70 m vertical, 0.50 m deep
•
Distance from Door Latch Side: Max 0.20 m
•
Outlets & Controls:
o
Min. height: 0.45 m
8.9 – Urinals
•
Type: Elongated lip or trough
•
Max. lip height: 0.48 m
•
9. Stairs
Depression depth: Max. 1 mm
9.1 – Treads
•
Slip-resistant material
•
Non-skid nosing strips recommended
11. Water Fountains
9.2 – Nosings
•
1 per 2,000 sqm of floor area
•
•
1 per floor minimum
•
Max. rim height: 0.85 m
•
Push-button control
•
If over 0.85 m: provide paper cups or lower unit
Use slanted, no projecting/open stringers (avoid tripping
for crutch users)
9.3 – Step Markings
•
High contrast color/gray value
•
Visible on riser and tread edge
9.4 – Tactile Strips
12. Public Telephones
•
Width: 0.30 m
•
Install before hazards (e.g., stairs, floor level changes)
Tactile Paving (Visual + Textured Guidance)
Tile Type
Meaning / Use
Blister (square)
Road crossings
Offset blisters
Corduroy / Across
lines
•
Clear space: 1.50 m x 1.50 m
•
Min. door width: 0.80 m
•
Max height (controls/coin slots): 1.10 m
13. Assembly Areas
•
Provide wheelchair-reserved seating
Train platforms, sudden drops
•
Comply with Sec. 7, Rule III (BP344 IRR)
Warning: stairs, ramps, footways
•
Include space for braces/crutches users
Parallel/along lines
Safe path – continue ahead
Color Tip
Bright (yellow/red) helps the partially
sighted
Remember: Accessibility isn't just a legal requirement — it's
about universal inclusion and human dignity.
Color Basics, Identification Systems & Schemes
I. DEFINITION OF TERMS
10. Elevators
•
Value – Lightness or darkness of a color.
•
Chroma / Intensity / Saturation – Purity or dullness of a
color, depending on how much it's mixed.
•
Hue – The actual name of the color (e.g., red, blue).
10.2 – Size
•
Tint – Hue + white.
•
•
Shade – Hue + black.
•
Tone – Hue + gray.
10.1 – Location
•
Within 30.00 m of entrance
•
Signage required
Min. interior space: 1.10 m x 1.40 m
10.3 – Control Panel
•
Height: 0.90–1.20 m
•
Reachable from seated position
10.4 – Braille
•
Floor indicators on panel & door frame
•
Follow Signage specs (Sec. 6.6)
10.5 – Buttons
•
Diameter: Min. 20 mm
II. SHORT HISTORY OF COLOR IN DESIGN
•
Colors have been used in interior design across cultures to
convey meaning, emotion, and function.
•
Historically, color has been symbolic (e.g., red for royalty or
sacred rituals).
III. THE COLOR WHEEL
•
Primary Colors: Red, Yellow, Blue
•
Secondary Colors: Orange, Green, Violet (mix of primaries)
•
Tertiary (Intermediate) Colors: Mix of a primary and
secondary
o
Red-Orange, Yellow-Orange, Yellow-Green, BlueGreen, Blue-Violet, Red-Violet
Black
Sophisticated, grounding
Commercial, corporate
accents
White
Clean, pure, sterile
Most buildings, esp.
institutional
VII. COLORS FROM MATERIALS
•
Color perception changes depending on material texture
and finish (e.g., matte, gloss).
•
Natural materials like wood, stone, metal influence the
palette and psychological impact of interiors.
V. COLOR SCHEMES
Scheme Type
Description
Example
Monotone
(Neutral/Gray/Cream)
Uses a single neutral
color in one value or
very limited range
Light gray
office
Monochromatic
One base color + its
tints/shades/tones
Various
blues
Analogous
3–5 adjacent hues on
the color wheel
Blue, bluegreen, green
Complementary
Colors opposite each
other on the wheel
Red + Green
Split Complementary
1 base color + 2
adjacent to its
complement
Blue +
YellowOrange +
Red-Orange
Three evenly spaced
hues on the wheel
Red +
Yellow +
Blue
2 complementary pairs
Red + Green
+ Blue +
Orange
Triadic
Tetradic (Rectangle)
Square
4 colors evenly spaced
on the wheel
Red, YellowGreen, Blue,
Violet
VIII. HOW COLORS CHANGE SPACE PERCEPTION
Design Goal
Color Strategy
Enlarge Space
Use light colors to reflect light
Compact Space
Use strong/dark colors to absorb light
Lower Ceiling
Paint ceiling darker than walls
Raise Ceiling
Use light ceiling, darker walls
Widen Room
Dark ceiling + back wall; light side walls
Narrow Room
Dark side walls; light back wall & ceiling
I. WALL MATERIALS & FINISHES
Purpose of Wall Finishes
•
Enhance interior/exterior aesthetics
•
Conceal structural and utility components (pipes, wires,
insulation)
•
Protect surfaces and influence room acoustics, lighting,
and comfort
•
Vary in texture (smooth or rough), finish (paint-ready, tiled),
and maintenance needs
•
Considerations: durability, combustibility, resistance to
water (esp. in kitchens/bathrooms)
VI. COLOR PSYCHOLOGY & APPLICATIONS
Color
Psychological Effect
Usage
Red
Energetic, stimulating,
intense
Restaurants, retail, dining
Blue
Calming, reduces heart
rate
Hospitals, bathrooms,
bedrooms
Yellow
Cheerful, bright, reflects
light
Kitchens, schools, entries
Green
Restful, stress-relieving
Institutional spaces
Application of Finishes
•
Must follow a correct sequence
•
Ensure background is completely dry
•
Consider:
o
Usage of the space
o
Exposure to abuse/wear
o
Maintenance requirements
o
Workmanship quality
II. TYPES OF WALL FINISHES
Concrete/Cement
Industrial look;
durable, costeffective
Requires professional
install, cracks over
time
Finish Type
Description & Characteristics
Wood
Paneling
Decorative; uses plywood, veneer, or laminate
Carpet
Stains easily, collects
dust/insects
Cement
Plaster
Mortar of cement + sand + water; can be smooth
or sand-textured
Soft, warm, good
for sound
insulation
Vinyl Tiles
Laminate
Sheet material with adhesives; wide range of
colors/patterns
Durable, various
designs, easy
install
Can dent/tear if
poorly installed
Tile Cladding
Granite, marble, glazed/vitrified tiles; varies for
indoor/outdoor
Natural Stone
Unique, durable,
heat-tolerant
Expensive, hard
underfoot, costly to
install
Pebble Finish
Small pebbles embedded in mortar; aesthetic
and rustic
Ceramic Tiles
Hygienic, versatile,
water-resistant
Grout maintenance,
tricky patterns costly
Glass Mosaic
1”x1” tiles on cloth sheets (12”x12”); colorful;
ideal for curves & pools
Stained
Glass
Artistic glass with etching, pasting, coloring –
used on walls/ceilings
Finish
Description
Remarks
Mirror Finish
Expands space visually; reflects light; ideal for
small rooms
Plasterboard /
Gypsum Board
Layered plaster sheets;
screw-fixed
Smooth, easy to
paint
Gypsum
Plaster
Finer than Plaster of Paris; more durable
Wood
Structural or decorative
planks/molding
Adds warmth &
detail
Wallpaper
Popular; available in paper, vinyl, 3D; chosen
based on room type
Ceiling Tiles
Painting
Opaque, pigment + solvent + binder; varies in
color, sheen, texture
Lightweight tiles
(plastic, fiberglass,
cork, etc.)
Acoustic control,
for suspended
ceilings
CEILING FINISHES
Types of Paint Sheens
Paint Type
Properties
Best For
Durability
Flat/Matte
Hides flaws; absorbs
light
Low-traffic
areas
Low
Eggshell
Subtle sheen; hides
imperfections
Living/Dining
rooms
Medium
SemiGloss
Reflective; washable
Bathrooms,
trims
High
High Gloss
Ultra-shiny; durable
Cabinets,
doors
Highest
Natural and Artificial Lighting Systems, Concepts and Principles
of Lighting, and Application in Interior Design
1. Natural Lighting
Types of Daylight Sources
•
Windows – directional light, variable by orientation.
•
Skylights – consistent daylight from above.
•
Architectural Screens – filtered and patterned light.
Orientation Effects
Orientation
Characteristics
Best Use
Paint & Decor
North
Cool, diffuse, no
glare
Offices, TV
rooms
Warm tones,
wood finishes
East
Warm in AM,
cool PM
Bedrooms,
breakfast
nooks
Cool/neutral
AM use, warm
PM use
West
Warm PM light,
glare
Afternoonuse spaces
Warm AM
colors, cool PM
tones
South
Consistent,
warm
Living areas,
frequent-use
rooms
Cool tones to
balance
warmth
III. FLOOR MATERIALS & FINISHES
Finish Type
Description & Pros
Cons
Hardwood
Solid planks,
natural aesthetic,
recyclable
Expensive, limited
supply
Plywood + veneer;
looks like
hardwood
Can only be sanded
once/twice
Engineered Wood
Window Treatments
•
Control Light & Privacy: blinds, curtains, shutters,
valances.
•
Filter/Block Light: blackout curtains, cellular shades.
•
Decor Tips: Place furniture to avoid glare/shadows; side
lighting is ideal.
4. Concepts and Principles of Lighting
Key Considerations
1.
Light Level – Measured quantity of light.
2.
Control of Brightness & Glare – Prevent visual discomfort.
3.
Contrast & Diffusion
o
Sun Control Features
•
Brise Soleil: Architectural sun breakers.
•
Exterior Shutters: Reduce heat/glare.
2. Artificial Lighting
Advantages
•
Fully controllable (brightness, color, direction).
•
Useful where natural light is insufficient or undesired.
3. Types of Artificial Light Sources
A. Fluorescent Lamps
•
Shadowless, even light.
•
Ideal for general and task lighting.
•
Available in warm and cool spectrums.
•
Shapes: Tube, Globe, Reflector, etc.
4.
Economic Issues – Efficiency, maintenance, cost of
installation.
Color Temperature Reference
Temperature (Kelvin)
Source
1800K–2900K
Candlelight, Sunrise/Sunset
3000K–4000K
Tungsten Lamps
5400K–6500K
Noon Sun, Cloudy Day
7500K–10000K
Overcast Sky
5. Application in Design
•
Lighting defines mood, color, texture, form.
•
Natural light: preferred for comfort, circadian health.
•
Artificial light: essential for evening tasks, consistency.
•
Space Planning Tips:
B. Compact Fluorescent Lamps (CFL)
•
Energy-efficient, long-lasting.
•
Contains ballast (may not dim well).
•
Warm “soft white” tones possible.
C. Incandescent Lighting
•
Warm, mellow spectrum.
•
Short lifespan, high heat.
o
o
Tungsten Halogen: Bright, lasts 3x longer, mimics
sunlight.
Low Voltage Halogen: Focused, ideal for
art/jewelry displays.
D. Light Emitting Diodes (LED)
•
Efficient, durable, safe.
•
Directional light (ideal for focused design).
•
Applications: strips, recessed lights, pendants, art lights.
•
Eco-friendly: no UV/IR, doesn’t attract bugs.
Shadows show form, diffuse light softens space.
o
Task areas: avoid direct light in the eyes.
o
Use layering: ambient + task + accent lighting.
o
Use light to guide movement and draw focus.
I. Types of Lighting Direction
Type
Description
1. Direct
90–100% of light directed downward toward the
task or area; minimal reflection.
2. Indirect
90–100% of light directed upward to reflect off
ceilings/walls for soft lighting.
3. Semidirect
60–90% of light directed downward, with a small
portion upward.
4. Semiindirect
60–90% of light directed upward, with a small
portion downward.
5. Diffused
Light is evenly distributed in all directions; soft,
uniform illumination.
II. Architectural vs. Non-Architectural Lighting
Flush-Mounted
Mounted directly to ceiling, enclosed or
partially open diffuser.
Semi-Flush
Slightly extended from ceiling for ambient
light spread.
Wall Sconces
Mounted on walls; provides soft accent
lighting.
Architectural (Built-in) Lighting
•
Fixed into structure (planned into ceiling/wall/furniture).
•
Enhances the architecture or highlights design elements.
Examples:
•
Valance Lighting: Light above windows or walls, casts light
up/down.
Bathroom
Fixtures
Mounted above mirrors; task lighting for
grooming.
•
Cornice Lighting: Concealed light source near ceiling
edge, washes wall with light.
Chandeliers
Decorative, suspended; multiple bulbs.
Installed over dining or open spaces.
•
Cove Lighting: Hidden lights near ceiling to bounce light
upward.
Bar/Island
Chandeliers
Two to three lights focusing downward over a
bar or island.
•
Soffit Lighting: Built into soffits; directs light down
(kitchen/bath).
Pendant Lighting
Simple hanging light; single shade or
diffuser, good for dining/general areas.
•
Toe-Mold Lighting: Floor-level strip lights.
•
Stairs Riser Lighting: Provides illumination for safety.
IV. Summary Chart: Lighting Directions vs. Application
Non-Architectural (Portable) Lighting
•
Movable and flexible, plugged into standard outlets.
Examples:
•
Table Lamp: Basic portable lamp for general lighting.
•
Floor Lamp: Standing light; may be adjustable.
•
Torchère: Floor lamp directing light upwards for ambient
lighting.
•
Desk Lamp: Adjustable task light for desks.
•
Buffet Lamp: Tall, slender lamp for accent lighting on
buffets/tables.
III. Luminaires and Fixtures
A. Fixed & Adjustable
Type
Use
Recessed
Downlights
Set into ceiling; cast focused pools of
light.
Surface-Mounted
Downlights
Mounted on ceiling; ideal for areas with
low ceiling clearance.
Eyeball Lighting
Adjustable spotlight; great for wall
washing.
Strip Lighting
Common in mirrors and grooming areas.
Track Lighting
Movable fixtures on a ceiling track; great
for accent and task lighting.
B. Decorative (Surface-mounted & Suspended)
Type
Description
Lighting Type
Application in Interior Design
Direct
Task lighting, focused reading/work areas
Indirect
Ambient lighting for soft, non-glare environments
Semi-direct
Balanced lighting in kitchens, workspaces
Semiindirect
Soothing background lighting in lounges,
bedrooms
Diffused
General illumination in living rooms, offices
I. TYPES OF LIGHTING DIRECTION
Type
Light Distribution
Characteristics / Use
1. Direct
90–100% of light
directed downward
Focused task lighting;
strong shadows; e.g., desk
lamps
2. Indirect
90–100% of light
directed upward
Reflects off ceilings/walls;
soft, diffused ambient light
3. Semidirect
60–90% downward,
remainder upward
More focused than
diffused; used in
workspaces
4. Semiindirect
60–90% upward,
remainder downward
Soft, ambient light with
some downward emphasis
5.
Diffused
Light dispersed
evenly in all
directions (360°)
Uniform general
illumination; reduced
shadows and glare
Note: Choice of direction affects visual comfort, functionality,
and mood of the space.
II. NATURAL AND ARTIFICIAL LIGHTING SYSTEMS
A. Natural Lighting
•
Source: Sunlight, skylight, reflections
•
Advantages:
•
o
Energy-efficient
o
Enhances health and productivity
o
Adds dynamic quality to space
Considerations:
•
•
Living Room: Layered lighting with ambient (ceiling), task
(lamps), and accent (art spotlights)
•
Kitchen: Direct lighting over counters, ambient for
movement, under-cabinet task lights
•
Bedroom: Warm ambient light, bedside task lighting, soft
indirect lighting
2. Commercial/Office Spaces
•
Task-oriented lighting: high CRI and low-glare fixtures
o
Glare control
•
Indirect or semi-indirect for long-duration comfort
o
Heat gain/loss
•
Accent lighting in reception or showcase areas
o
Light availability during the day
B. Artificial Lighting
•
1. Residential Spaces
Source: Man-made electric light (e.g., LED, halogen,
fluorescent)
3. Hospitality & Retail
•
Mood and branding through color temperature and lighting
direction
•
Decorative fixtures as part of visual identity
Types:
1.
Ambient Lighting – General overall lighting
2.
Task Lighting – Focused for specific activities
(e.g., reading)
3.
Accent Lighting – Highlights objects or
architectural features
4.
Decorative Lighting – Fixture acts as a focal point
(e.g., chandelier)
III. CONCEPTS AND PRINCIPLES OF LIGHTING
SUMMARY CHART: LIGHTING DIRECTION AT A GLANCE
Direction
Function
Best For
Direct
Task Lighting
Work areas, reading corners
Indirect
Ambient, glarefree
Lounges, bedrooms,
relaxation spaces
Semi-direct
Balanced focus
Kitchens, dining rooms
Semiindirect
Soft ambiance
Conference rooms, lobbies
Diffused
General
illumination
Living rooms, commercial
spaces
Concept / Principle
Description
Brightness
Perceived intensity of light
Contrast
Difference in illumination between
adjacent areas
1. ELECTRICAL OUTLET LOCATIONS (By Area)
Color Rendering
Index (CRI)
Accuracy with which a light source
renders color
•
Outlets must match the layout, furniture plan, and user
habits.
Color Temperature
Measured in Kelvin (K); affects mood
(warm < 3500K, cool > 5000K)
•
Electrical planning should be done before construction is
completed.
Efficiency
Lumens per watt; higher = more energy
efficient
•
Prioritize convenience, safety, and accessibility.
Uniformity
Evenness of light distribution across
space
Glare Control
Minimizing excessive brightness or harsh
reflections
Layered Lighting
Combining ambient, task, and accent for
depth and flexibility
General Principles
🛏 Bedrooms
•
Near nightstands: for lamps, phone chargers, clocks.
•
TV/computer zones: add extra outlets.
•
Consider dimmer switches and smart lighting systems.
Hallways
•
IV. APPLICATION OF LIGHTING IN DESIGN & INTERIOR SPACE
Minimum one receptacle every 10 feet if wall is accessible.
🍽 Kitchens
•
Plan around major appliances: fridge, oven, dishwasher.
•
Small appliances (e.g., microwave, toaster) require
countertop outlets.
•
Must include GFCI (Ground-Fault Circuit Interrupter)
protection.
🛋 Living Rooms
•
At least 1 outlet per wall; ideally in all 4 corners and wall
centers.
•
Plan for:
o
Entertainment systems
o
Lamps
o
Holiday decor (e.g., Christmas tree)
Bathrooms
•
Outlets for hair dryers, electric toothbrushes, razors.
•
Must use GFCI outlets near water.
•
Position outlets for safety and accessibility.
Garages
•
Ceiling outlet for garage door opener.
•
Wall outlets for power tools, workbenches.
Home Office
•
Wall outlets for desks.
•
Consider floor outlets if the desk isn't against a wall.
•
Plan for specialized equipment.
3. AIRCON UNIT PLACEMENT (Indoor + Outdoor)
Indoor Unit Guidelines
1.
High Positioning: Hot air rises, cool air falls. Mount high for
faster, even cooling.
2.
Avoid Direct Sunlight or Heat Sources: Keep away from
bulbs or heat-producing devices.
3.
Avoid Blowing Directly at Beds: May cause health
discomforts.
4.
Avoid Obstacles: Don’t place above doors, wardrobes, or
electronics.
5.
Leave Gap from Ceiling: Minimum 15 cm to allow air
intake and maintenance access.
6.
Best Placement in Room:
o
For rectangular rooms, install on longer wall for
better air distribution.
o
Avoid corners and areas with constant airflow
disruption.
Outdoor Unit Guidelines
2. ELECTRICAL PLAN SYMBOLS
•
Well-ventilated area is critical.
Know these common plan symbols:
•
Must be in shade to reduce overheating.
•
Avoid enclosed, hot, or poorly ventilated areas.
4. Electrical Planning Safety & Code Tips
•
•
Follow Philippine Electrical Code for:
o
Heights (e.g., sockets ≥ 150mm above worktops)
o
Distance from water and heat (≥ 300mm)
o
No sockets above hobs, sinks, or stoves.
Switches must be accessible and within 2 meters of the
appliance they serve.
5. Advanced Utility Features
•
CleanPlate Covers: Magnet-based switch covers that can
be engraved.
•
Switch Bank Design: Organize grouped switches with
labels.
•
Structures: Palaces with courtyards, clerestory windows,
temples, tombs
•
Master Switch: Common in hospitality – one switch to
control all nearby outlets.
•
Details: Painted plaster floors, blue ceilings, cavetto
cornice
•
Thermostats & AV Panels: Consider for smart,
multimedia, and hospitality setups.
B. Neoclassical Interiors
•
Inspiration: Ancient Greek & Roman + French Louis XVI
elements
•
Colors: Cream, soft greys, pale blues/yellows, low contrast
•
Elements: Pilasters, columns, urns, dentil cornice, French
paneling
•
Furniture: Dark wood, symmetrical, luxurious yet simple
•
Fabrics: Damask silk, brocade, velvet
QUICK INSTALLATION GUIDE (Height & Placement)
Element
Minimum/Ideal Placement
Wall Sockets
≥ 150mm above worktop
Switches
900–1200mm AFF (above finished floor)
Hood Switch
Within 2m of cooktop; ≥ 300mm horizontally
from hob
Aircon
(Indoor)
7–8 ft high on wall
AC Ceiling
Gap
≥ 15cm clearance from ceiling
C. Japanese Interiors
Architectural Interior Types: Period & Contemporary Styles
I. Factors That Influence Style
•
Philosophy: Zen minimalism; “Less is more”; Shibusa
(understated elegance)
•
Structure: Wood-frame, no nails, open floor plans
•
Partitions: Shoji (rice paper doors), Fusuma (painted
panels)
1.
Political & Economic Factors
2.
Climate & Materials Available
•
Key Spaces: Tokonoma (focal niche), Engawa (veranda)
3.
Manners & Living Habits
•
Flooring: Tatami mats
4.
Technological Capabilities (e.g., joinery, tools)
•
Furniture: Low tables, zabuton cushions, hidden cabinetry
5.
Cultural & Religious Beliefs
•
6.
Maslow’s Hierarchy of Needs
Details: Simple beams, natural materials, garden
connection
o
Physiological (e.g., shelter)
o
Safety (e.g., security in dwelling)
o
Love & Belonging
o
Esteem
o
Self-actualization
II. Period Styles
III. Contemporary Styles
A. International Style (1932–Present)
•
Influences: De Stijl (Holland), Bauhaus (Germany), Le
Corbusier (France)
•
Pioneers: Walter Gropius, Mies van der Rohe, Le Corbusier,
Philip Johnson
•
Characteristics:
A. Egyptian Interiors
•
Materials: Mud bricks, stone, papyrus, lotus
•
Craftsmanship: Joinery (dovetail, mortise & tenon), inlay,
weaving
•
Design Motifs: Nature (e.g., date palm, lily)
•
Furniture: Animal-leg shapes, low sofas, thrones, side
tables
•
o
Rectilinear forms, open floor plans
o
Use of steel, glass, concrete
o
Minimalist, no ornamentation
o
Flat roofs, white stucco, large glass panels
Famous Structures:
o
Villa Savoye – Le Corbusier
o
Farnsworth House – Mies van der Rohe
o
Glass House – Philip Johnson
o
Fallingwater – Frank Lloyd Wright
Neoclassical
Classical
revival, muted
colors,
symmetry
Louis XVI
Interiors
Dark wood,
damask
upholstery
Japanese
Zen,
minimalism,
natural
Traditional
Japanese
house
Zabuton, low
tables
International
Minimalist,
open plan,
industrial
materials
Villa Savoye,
Farnsworth
House
Wassily,
Cesca, MR,
Barcelona
Chairs
Scandinavian
& Mid-Century
Functional,
warm
minimalism
Egg Chair,
Eames
Lounge
THE Chair,
Number
Seven,
Bertoia Wire
International Style Furniture
•
Designers: Marcel Breuer, Mies van der Rohe, Le Corbusier
•
Materials: Tubular steel, leather, pony skin, cane,
fiberglass
•
Iconic Pieces:
o
Wassily Chair – Breuer
o
Cesca Chair – Breuer
o
MR Chair – Mies van der Rohe
o
Barcelona Chair – Mies
o
Grand & Petit Confort – Le Corbusier
o
Basculant Chair – Le Corbusier
o
Pony Chaise – Le Corbusier
B. Scandinavian & Mid-Century Modern Design
•
Philosophy: Simplicity, functionality, craftsmanship
•
Materials: Bentwood, tubular steel, fiberglass, woven cane
Notable Designers & Furniture
Designer
Iconic Furniture
Year
Alvar Aalto
(Finland)
Armchair 406 (bent plywood)
1935
Eero Saarinen
Pedestal Table/Chair Group (no
legs)
1956
Hans Wegner
THE Chair (fine joinery)
1949
Arne Jacobsen
Egg Chair, Number Seven Chair
1955–
1957
Charles & Ray
Eames
Eames Lounge Chair &
Ottoman
1956
Harry Bertoia
Bertoia Wire Group (sculptural
steel)
1956
Warren Platner
Platner Collection (steel rod
furniture)
1966
Summary Table of Key Styles
Style
Key Traits
Famous
Example
Notable
Furniture
Egyptian
Symbolic,
nature-based,
tomb-focused
Pyramids,
palaces
Throne, low
sofas, side
tables