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| Reasons for interior design projects: |
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- new homes and buildings require complete designs
- interiors need refurbishing
- the program changes
- fashion changes |
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1. letter of agreement
2. problem statement
3. research and programming
4. writing the program
5. design development: solving the problem
6. postoccupancy evaluation |
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| the legal contractual arrangement between the design firm and the client that spells out responsibilities and services of both parties |
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| a short declaration that identifies a desdign project according to purpose, location, and those for whom the design is being created |
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| everything that happens or must be accomplished in an interior. it also is the written document that describes what will take place in an interior |
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| the research phase of the design |
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| an outline of user characteristics, habits, background, and design preferences that helps determine the direction a design should take |
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| a pile of earth used to create a visual or physical diversion or to add variety to a landscape |
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| generation ideas without stopping to judge their quality |
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| drawings that show the concept or idea for a design |
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| design based on a contractual arrangement with the client. also, design work for which the client is not a residentual occupant |
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| the statistical data of a particular population |
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| a normal or characteristic action or some duty required in work. used here to refer to anything that takes place within a given environment |
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| the final phase of the design process when the design plans are implemented |
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| processes or chemicals that render fabrics more durable or decorative |
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| furniture and accessories, and fixtures such as lighting and appliances |
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| markets, marketing centers |
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| convenient clusters of trade sources that market goods and services wholesale to interior designers |
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| textiles and other substances used for floor and wall coverings, window treatments and upholstery, cabinetry, trim, and other physical components of an interior |
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| the way an individual or group lives |
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| postoccupancy evaluation (POE) |
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| the formal process of looking at a design once it is in use to see how well it is functioning |
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| an artist's conception or perspective fo a finished building exterior or interior, usually done in full color |
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| quick drawings used to generate or show ideas |
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| the written list of materials and furnishings, itemized according to company, stock number, color, and other pertinent ordering information, and the location where the goods will be installed. also, in contract architecture, the criteria of minimum durability, cost, and safety requirements of finish materials written or specified by an architect |
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| wholesale companies that market goods and services to the trade or the interior design profession |
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| computer simulation of a three-dimentsional physical environment and its visual, auditory, and other sensory aspects. |
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| the final mechanical drawings that are used to obtain bids and construct a design |
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door width for wheelchair
hall width |
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| window placed at the top of the wall or in the highest story of the nave or choir of a church |
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| design for special populations that presents no physical obstacles or barriers to access and allows free movement in the environment |
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| an approach to design in which preservation of the natural environment is a primary consideration. green design specifies renewable and biodegradable materials. It utilizes solar, climate, and site factors to minimize the energy consumed by the completed building. |
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| adding electrical, telecommunications, home automation, solar, or other system to an existing building |
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| design that functions for users in various stages of life (from different generations), implying that the design can be used continually without change over a long period. |
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| the process of allowing volatile fumes and gases to dissipate. newly installed wall and floor coverings, an dnew upholstered furniture, often require an off-gassing period |
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| design that meets the needs of all users, without drawing attention to those with disabilites |
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| a principle of design that evaluates the relative size and visual weight of objects. Classifications of scale include small or light, medium, large or heavy, and grand (extra large) |
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| the relationship of parts to a whole in terms of size, detail, or ornamentation. Good ______ is pleasing and functional |
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| the placement of objects (such as furniture or art), or architectural detail (such as windows or columns), to create visual equilibrium |
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| a type of rhythm wherein two shapes alternate. a classic example is egg-and-dart molding |
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| the placement of different objects on either side of a center point where they balance each other. also called informal balance, asymmetry requires a discerning eye and senstivity to achieve the balance. |
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| an element of design, color is a pigment in paint or part of the visible spectrum of light that enables us to see hues. it incorporates the study of hue, value, and intensity as well as color schemes, color application, and color psychology |
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| a classification of design wherein the building, furniture piece, or object is decorated wth ornamentation. decorative design is broken into four categories: naturalistic, conventional, abstract, adn geometric. |
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| a principle of design that indicates attention is given to a certain area within an interior. emphasis is also called focal point. |
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| the study of the relationships between, on the one hand, human form and movements and , on the other, furniture and other products people use. |
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| also known as emphasis or center of interest, a focal point draws the eye to an area or object and holds the interest of the viewer. architectural focal points include picture windows and fireplaces. |
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| a pleasing line of division that is placed between one-half and one-third of the height or length of an object, such as tieback draperies or a chair rail. |
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| a theory of pleasing proportions based on the sequence 2:3:5:8:13:21, ad inf., where a portion or section of a line relates best to its neighborsin measurements of these or equivalent increments |
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| a congruous combination of parts into a pleasing whole; the result of unity and variety balanced together in an orderly, agreeable arrangement |
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| the difference between small areas of light and the dark area surrounding it. |
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| another word for color, such as the hue red. often used to mean pure spectral colors as opposed to shades, pastels, etc. an important designation in the Munsell color system |
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| the relative pureness or brightness of a color, as opposed to the dullness or neutralization of that hue. also called chroma |
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| an element of design that is broken into two types: natural and artificial |
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| the deliberate connection of two points as seen in planes and outlines of shapes. an element of design |
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| little difference between colors, meaning their values (lightness vs. darkness) are very close -- such as all light colors or all dark colors. |
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| an element of design that denotes density or visual weight within an object. heavier mass or density will often make an object appear larger than one that has little mass or empty space within its shape |
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| gathering or forming into a mass. the pulling of objects into a group so that ogether they have more visual weight or importance than they do separately |
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| an oversized upholstered footstool, sometimes called a hassock. |
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| a form of rhythm wherein right angles meet or light and dark areas contrast in a fhythmic sequence. |
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| a finish that comes with use and time to wood and metal |
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| an element of design; the arrangement of shapes and perhaps value (light and dark contrast) or relief (high and low areas) brought together eto make a random or predictable design. |
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| the principle floor of a building; usually a raised first floor |
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| a type of balance seen as radiation from a central point |
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| a type of fhythm wherein shapes, forms, lines, or colors are repeated in a congruous manner |
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| a principle of design seen in an interior as a visual flowing pattern or regular recurrence. the path the eye follows. types of rhythm include repetition, alternation, progression or gradation, transition, opposition or cotnrast, and radiation |
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| a type of rhythm (a principle of design) illustrated by elements radiation out in nearly every direction from a central point, such as spokes of a wheel or concentric circles |
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| an element of design consisting of a continuous expanse of distance without forms, which is divided with walls, partitions, and furnishings. filled space is termed positive space, and empty space si called negative space. |
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| an element of design that is the contour or outline of an external surface of a form |
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| a basic or general category of design wherein the design is intrinsic in the structure -- one cannot be separated without destroying the other |
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| also called bisymmetrical, formal, or passive balance, it is mirror-image arrangement of parts or elements |
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| the relative smoothness or roughness of a surface read by the eye (visual texture) or with the hand (tactile texture). Texture is produced in several ways: by material, color, line, relief, and finish. |
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| a type of rhythm that leads the eye without interruption from one point or area to another |
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| a component of harmony that provides a change or releif from sameness in an interior through differences in the design and furnishing elements. |
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| the relative lightness or darkness of a hue according to the amount of white or black inherent in or added to the hue |
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| a component of harmony made possible through repetition or similarity of objects or elements in an interior |
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| a type of rhythm wherein shapes repeat in diminishing or escalation sizes or where colors graduate from light to dark. also called rhythm by gradation |
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| a state of physical or visual balance or equality |
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| light-value and bright color groups |
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| these color groups produce feelings of spontaneity and happiness |
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| light-value and dull color groups |
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| these color groups produce feelings of calm and relaxation |
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| dark and dull color, or neutralized colors |
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| these color groups are serious and profound |
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| dark values and bright chroma (jewel tones) |
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| these color groups suggest richness and strength |
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| danger, passion, love, excitement, stumulus, conspicuousness |
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| wealth, power, sometimes evil |
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| cheerfulness, youth, festivity |
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| femininity, innocence, relaxation, delicacy |
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| friendliness, warmth, celebration, clarity |
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| wealth, success, fame, rich depth |
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| stimulation (to the appetites), security, relaxed euphoria (sense of well-being) |
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| cheerful optimism, sunshine, sprintime, renewal, intensity, demanding, revealing, warmth (too much is hot), intellect stimulation |
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| dark, neutralized golden yellow |
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| wealth, affluence, status, distinction, high esteem. too much is brash, garish, or ostentatious |
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| intelligence, wisdom, compassion, freshness, cheerfulness, optimism, goodness, clarity, cleanliness |
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| nature, calmness, friendliness, integrity, practicality, frankness |
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| solidity, wealth, anchored tenacity, security |
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| sea and sky, cleanliness, nostalgia, calmness |
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| youthfulness, freshness, happiness |
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pure, intense blue
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deep, neutralized blue |
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| loyalty, honesty, integrity, royalty, stimulation, restlessness. sincerity, conservativism, safety, peacefulness, kindness, compassion |
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tentativeness, cleanliness, calm, expanded time and space, lack of security
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| pure, intense purple or violet |
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| optimism, imagination, royalty, dignity, poise, renewal, commitment, drama |
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| dark, neutralized purple or violet |
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| depth, richness, security, sternness, soberness, sobriety, dullness |
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| light or pastel purple or violet |
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| freshness, springtime, flowers, imaginativeness, femininity, kindness, sensitivity |
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| this orientation of light is clear and bright |
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| this orientation of light is clear and cool |
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| this orientation of light is constant and warm |
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| this orientation of light is hazy and hot |
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| wrote The Principles of Harmony and Contrast of Colors. the roots of all our present theories |
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| Standard Color-Wheel theory |
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