Interior Design Portfolio

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Emily Sweet Design Portfolio

“Talent is good.

Practice is better.

Passion is best.”

- Frank Lloyd Wright -

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Bubble Diagrams

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Renderings

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Design Philosophy

D B I UA BG BR LA EM S 01

Display

Training

Terrace Information Center

Restrooms

Entrance Parking

Cafe

Reception Gift Shop

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LEGEND Pathways

Private Space

Public Space

Semi Private Space

Utility and Plumbing

Storage

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Master Bedroom

Laundry

Bedro Bathroom

Kitchen/Dining Living Room

oom Closet Entry

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R E N D E R I N G S 05

KITCHEN

PERSPECTIVES FLOOR PLANS ELEVATIONS

DRAPERY AND CHAIR

BLANK WALLS

DINING ROOM

LOFT LIVING ROOM

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FIRST MARKER >

FINAL MARKER

COLOR PENCIL >

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D I G I T A L

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G R A P H I C S

ICONS PUBLICATIONS POSTERS

The Kaufmann

Desert House

The house went through many owners and changes throughout the years. The first owners to make major changes were Joseph and Nelda Link in 1962. An addition that was about 2,200 sq. ft. was added. To do this, a patio was made into a media room and a wall was removed so it would open into the original living area. While the addition was relatively seamless, removing the glass corridor reduced the amount of light significantly and the added air conditioning cluttered the roof panels. The next known changes were done by Barry Manilow after he purchased the home in 1973. The interior was extensively covered in wallpapers. After Manilow moved out, the residence sat on the market for 3 and a half years, eventually listed as a tear-down, until Beth and Brent Harris purchased and restored the house.

The process of restoration began in 1993 when the couple bought the house. The contacted architects Marmol Radziner and Associates to restore the residence. To do a complete restoration of the house, they needed to know original materials and plans. With their research team they discovered letters written between Neutra and

Kaufmann that contained sketches, specs, and material details. This where they found what stone was needed to reconstruct a missing stone wall. A closed sandstone quarry in Utah had to be reopened to get the matching stone. One of the difficulties encountered during this process was how to connect the structure to nature. The area was no longer the original rugged desert since it grew into a suburban residential neighborhood.

To help with this, the Harris’ purchased several adjoining pieces of land to recreate the remoteness.

Some time after the complete restoration, the Harris’ decided to get a divorce. They both truly loved the house and decided the buyer would have to be someone who appreciated the significance of the residence and would keep up on the maitenence that was required. The solution that was agreed upon was to auction the house as a piece of art. It was eventually sold for $15 million, however, the sale did not go through due to the buyer breeching terms that were set. This ended in Mr. Harris getting ownership of the property and is available to view from the driveway.

The Kaufmann desert house was originally built 1946-1948 by Richard Neutra and is located in Palm Springs, California. It was designed and built for Edgar Kaufmann who was also the owner of the famous Fallingwater house. The desert house was designed to do the opposite of Fallingwater. Rather than blending into the landscape, it was designed to be an object in a space. It is primarily placed east-west which maximizes the sunrise and sunset views. There are also large sliding glass doors that open into patios with moveable metal slats. These allow the rooms to be shaded and cooled when it’s extremely hot, and closed when there is a sandstorm.

Neutra was a key figure of the modernist architect movement. He was praised for his homes that were made for the warm climate in California, using a lot of windwons, boxy constructions, light facades, and outdoor living spaces. He studied under architects such as Adolf Loos, Max Fabiani, and Karl Mayreder. Neutra also practised with landscape architect Gustav Amman while in Switzerland and Erich Mendelsohn in Berlin. After moving to the United States in 1923, he began working with FRank Lloyd Wright and Rudolph Schindler. He didn’t start his own practise until 1930, making Californian homes based on geometry, clean lines, and airy construction.

When it was first constructed, the house was photographed by Julius Shulman and the photos became a key role in making the residence one of the nation’s most iconoc modernist houses. neutra had strict insructions on how the house was to be photographed. One of his preferences was to do it at dusk or evening so the illuminated interior could be seen. The time lapse photo that was ultimately taken became famous for the images of a running “ghost” and the fact that Shulman had Lillianne Kaufman pose on a mat so the pool light did not overexpose the photo.

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FLAMINGO VISITOR CENTER POSTER

These graphics showcase the use of color, imagery, contrast, and branding. The two icons on pg 11 primarily show color and contrast.

The Kaufmann Desert House publication mainly showcases color and imagery. The two posters represent all four.

Color, imagery, contrast, and branding must be consistent to graphically communicate the information properly.

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Abu Dhabi Flamingo Visitor Center Training

Display Terrace

Information Center

Restrooms

Entrance Parking

Cafe

Reception Gift Shop OďŹƒces

Cafe, Gift Shop, and more!

15 SUV sized parking spaces

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Training room that accomodates up to 50

TARGUA MOROCCAN COFFEE TABLE

on

Targua Rep

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metry Sym

Moroccan To Wh Unit ole

Coffee Table POSTER >

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P H D I EL SO I S GO NP H Y 15

In this project, I was to pick seven chapters of Stanley Abercrombie's A Philosophy of Interior Design. I was to then provide a written interpretation of overarching concepts and a reflective response for each chapter.

I S S U E 01

April 2020

Design TABLE OF CONTENTS

BEING OUTSIDE ----------------------------------------------------------- pg 01

PLANTS --------------------------------------------------------------------- pg 03

philosophy

BEING OUTSIDE / PLANTS / COLOR AND LIGHT / ART / ROOMS / DOORS AND WINDOWS / FURNITURE

COLOR AND LIGHT ------------------------------------------------------- pg 05

ART -------------------------------------------------------------------------- pg 07

ROOMS --------------------------------------------------------------------- pg 09

DOORS AND WINDOWS ------------------------------------------------- pg 11

ROOMS --------------------------------------------------------------------- pg 13

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Being Outside D I S C O U R S E A N A LY S I S

“It is an exposure without which human experience would be incomplete, but it is exposure that most of us crave only in measured doses.” STANLEY ABERCROMBIE Exposure is the condition of being unprotected, made known, or subjected to effect/influence. We are exposed to many elements every day. Outside, we are not only exposed physically, but psychologically as well. Nature exposes us psychologically through its terrifying vastness. Physically, there are wild animals, poisinous plants, and rough terrain. We are not only exposed in nature, however. Cities have many dangers within their limits. No city is an entirely controlled entity. These dangers and uncertainties have not prevented humans from incorporating the two into their every day lives (Abercrombie). In the 19080’s, scholar Edward O. Wilson made the term biophilia popular. It is defined as the tendency for humans to interact with or affiliate with other life. This has since then been incorporated into interior design and architecture to improve the performane and well-being of others. Biophilic design has caused a decrease in stress, enhanced creativity, and faster recovery from illnesses. Biophilia does not only include plants, it uncludes patterns and arrangements seen in nature (Gloede). When real plants and nature are incorporated, it is referred to as direct nature (see figure 1.0) (TruVine Design). It does not require real, living nature either. Using pictures and biomorphic patterns are just as viable (Gloede). This is referred to as indirect nature (see figure 1.1) (TruVine Design).

Biophilic design allows one to experience nature in the comfort of their own space, thus feeling less exposed.

P E R SO NA L R E F L ECT IO N I have personally experienced the effect exposure and nature has on psychological health and efficiency. On walks through the woods, I have always felt very exposed. However, it was also very serene. This may seem contradicting, but I believe it is ingrained into us to find nature serene. Scientifically, we have evolved from a species of great apes.

We started in nature and have evolved to

figure 1.0: Direct nature is incorporated through the planting of trees indoors.

learn how to survive best in it. The exposed feeling comes from the fact that anything could be lurking within the trees. I feel this is also somethig ingrained into us. We know the dangers of the world and while we are predators, we may not all have the strength to defend ourselves. Bringing nature into

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my home gives me the serene feeling I have when I’m outdoors, while also keeping me comfortable by staying within the confines

figure 1.1: Indirect nature is incorporated through the use of leafy wallpaper and natural colors.

of my own home. Figure 1.2 showcases an interior that reflects this feeling. The plants invoke the serene feeling of nature while protecting the inhabitants. The windows provide a view into the outdoors while also acting as a shield. Other factors other than the plants are the wooden walls and natural colors that reflect what you see in the outdoors.

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figure 1.2: A man relaxes in the comforts of his home while still surrounded by nature.

plants D I S C O U R S E A N A LY S I S “A garden is a complex of aesthetic and plastic intentions; and the plant is, to a landscape artist, not only a plant - rare, unusual, ordinary or doomed to dissapearance - but it is also a color, a shape, a volume or an arabesque in itself.” ROBERTO BURLE MARX Historically, plants played a minor role in interior design and architecture. However, used wisely, plants can be important elements in interiors. They can make an otherwise boring room lively as well as provide health benefits. Plants release oxygen and may even remove some harmful pollutants from the air to some degree. Plant materials are still elements of designs and are not very different from the use of furniture and art. Their placement should help with emphasizing the design, not as a way to hide awkward spaces or direct traffic. Plant use should be a way to maximize the delight an interior is offering (Abercrombie). Because there are many sizes of plants, the uses for each vary. Large plants are ideal for interiors that are minimalistic and overcrowding is easy (see figure 2.0). However, one must be conciencious of how much room is being used. Small plants are ideal for any space (see figure 2.1). They are very versatile and usually low maintenance (Woodpecker Flooring USA).

Many people avoid the use of plants due to the fact they must be taken care of. However, studies have shown nurturing plants decrease mental distress.

Putting stressful feelings into a productive task is a very good coping mechanism (Ellison Chair in International Floriculture). Plants have many important functions within interiors.

P E R SO NA L R E F L ECT IO N

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Although I do agree that plants have a significant use in interiors, I do believe they can be used as ways to cover the awkward and ugly places. When there is an awkward empty space, the interior always fells off. Generally, people cover these spaces with a piece of furniture. As Abercrombie has stated, plant materials are really no different from furniture or art. Rather than having to rearranging an entire room that is how you want it, a plant that brings you joy can be used to cover the space that is bringing the mood down.

Figure 2.2 showcases how plants can substitute an entire room design by replacing the awkward corner. I do, however, agree plants figure 2.1: Small plants can should not only be used as a filler or camoefficiently fit in unusual places. flauge for these areas. They have so many varied uses and benefits. A personal experience I have had regarding plant size is when my roommate and I were arranging plants in our dorm room. I only had a small bonsai type of tree and a cactus. However, my rooommate had a medium sized bamboo plant and another small-medium plant. The bamboo plant started to get somewhat beat up since it would get in the way of the blinds when we pulled them down at night. Because of this, the bamboo was moved to the dresser below the window. Plant size should be taken into consideration when figuring out placement just as any other piece one is incorporating into the design of the room.

figure 2.0: A large Rubber Plant is ideal for minimalistic interiors by bringing nature in but limiting clutter.

figure 2.2: A Fiddle Leaf Fig sits in an otherwise empty corner.

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color and light D I S C O U R S E A N A LY S I S

“Light is a thing that cannot be reproduced, but must be represented by something else - by color.”

PAUL CEZANNE

Color and light are key elements of design and must be planned to support the concept. Response to color is affected by the light it is seen in. When figuring out lighting and color for a room, seasons, weather, times of day and night, possible uses, and possible moods must be taken into account (Abercrombie). Light has biological as well as psychological impacts. When light impacts us bioloically, it can improve or worsen our wellbeing and sleep.

Psychologically, it can increase mental performance and help with depression. Studies have shown that natural light can make you happier while artificial lights can cause different emotions and other effects. Colored lighting is not all bad. Green light therapy helps to stimulate growth hormones and strengthened muscles/bones. Blue light can lower high blood pressure, purple light can reduce emotional and mental stress, orange stimulates creative thought processes, yellow can treat depression, and white gives a sense of cleanliness (TCP Lighting).

Color is not only limited to wall color, it includes decor and furniture. Like different colored lighting, diffrent colors have different effects on emotions and behavior. Warm colors genreally emit feelings of happiness and optimism (see figure 3.0). Cool colors tend to be soothing and calming but can cause some sadness if not used wisely (see figure 3.1). Generally, the happiest colors are yellow, orange pink and red while the saddest colors are dark and muted like black, grey, and some neutrals (Gremillion).

P E R SO NA L R E F L ECT IO N Our moods affect our every day lives. When we are stressed, we can’t focus and when we are happy, we feel refreshed and comfortable. As shown by studies, color and lighting affect our moods. When I am in a bright room with soft colors, I feel comfortable and relaxed. I can also focus better on my work and get things done faster. In darker rooms with bolder colors, I can’t focus as well and

figure 3.0: Warm colors brighten up interiors and give off optimistic and happy vibes.

feel sluggish. Figure 3.2 is a representation of what I feel most comfortable in. The room has a lot of natural lighting that brightens the room as well as soft but bright colors that increase the brightness of the room. I personally do not enjoy colored lights as much. They tend to hurt my eyes and in turn my head.

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The colors tha are not from lighting that tend to comfort me the most are pastels of orange, pink, yellow, and blue. These colors

figure 3.1: Cool colors give off a light but mellow and calming vibe.

brighten up the room but with them being pastel, they are soft and not overbearring.

Not everybody finds these colors comforting, however. Many people I know do not enjoy the colors yellow or orange and find them to be too bold and out there even as pastels.

Color preference really varies from person to person based off of perrsonal experiences, culture, where they are from, etc.

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figure 3.2: The windows provide an abundance of natural light with the light pink increasing the brightness.

art D I S C O U R S E A N A LY S I S “Art enables us to find ourselves and lose ourselves at the same time.” THOMAS MERTON Art changes a room dramatically. A painting can alter a wall more than wallpaper, as much as a mirror, and almost as much as a door or window. Art should be used carefully and sparingly. It can also alter a design concept. The differences between design, art, and craft vary from person to person. Design is being used to refer to something directly applied to a room such as murals, plaster work, stained glass, and wallpaper (see figure 4.0). Art and craft, however, have more controversial differences. Art work is made freshly by the artist while craft owes its form to tradition. Art also has more sentimental value than craft (Abercrombie). Craftsmen have an idea about what they want to make while artists use their emotions to find what to make. Craft forms can also be duplicated, unlike art. Art is a result of talent and craft is a result of experience (Prabhat). Art provides many important elements to design. It can help support color palettes as well as help someone choose a color palette. It can also be used as a focal point of a room. Every space requires something that will attract visitors. Art brings a sense of color and texture.

Having a variety of mediums amplifies the sense of texture. Lastly, it can make a room appear finished.

Having an empty wall can make a space appear sad and unfinished (see figure 4.1). Adding art work can pull a space together to make it feel complete (Cury). Art works bring many things to table when it comes to incorporating them into interiors. An interior without art work is not one worth using (Abercrombie)

P E R SO NA L R E F L ECT IO N I agree that art work can drastically change a room and design concept. It is a danger-

figure 4.0: A mural sits behind a couch, making an otherwise empty wall something interesting to look at.

ous elemt that is introduced to interiors.

Going overboard can make a space feel claustrophopic and look chaotic. I do disagree with separating design, art, and craft.

I believe design and craft are types of art.

Many types of art have differences, but that does not mean they are not art. Craft is not necessarily devoid of emotion either.

You must have passion to make something.

I agree that craft is a result of experience, but also talent. Art such as paintinga and drawings do not necessarily need to be done with experience. Most everybodty can paint

figure 4.1: A blank wall gives the space an unfinished look.

a draw, even if it is not a masterpiece, it is

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still art. Craft and design, however require experience because the things resulting from them are meant to be functional. Someone without experience will most likely fail with making these fully funtional. Design and Craft require someone driven by passion as well as experience. I believe an ideal way of incorporating art into a space is through a gallery wall. Gallery walls allow you to have a group of cohesive art works hang with each

figure 4.2: A gallery wall turns a boring and awkward corner into a thing of beauty.

other to fill an empty wall (see figure 4.2). Art is subjective and tastes vary in a great deal of ways.

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Rooms

P E R SO NA L R E F L ECT IO N

D I S C O U R S E A N A LY S I S “A plan is a society of rooms.” LOUIS KHAN Guiding how the users will experience each room of a plan is critical. Rooms present limits to our sensese, especiall visual and aural. The designer should give a room unity. Groups of rooms will vary, but singular ones should be cohesive (see figure 5.0).

Usually, we notice a rooms size first. Designers must manipulate space to make the volume have its desired effect. Large volumes of interior space can either be freeing or terrifying. The openess and lack of privacy can make it feel like a prison, despite having so much space. Small spaces can also be comforting or claustrophobic. Something one always considers in comparison to a spaces volume is theirself.

We see similar distances and hear sounds at similar ranges of volume. We also all share similar features of flexibility and individuality. Groups of rooms will vary in size as the uses vary (Abercrombie). According to the International Residential Code, the accepted standard in most of America, the average gross fl0or space for each living unit should not be less than 120 square feet. Other rooms should be no less than70 square feet, except the kitchen which can be as low as 49 square feet (Easymove). In North America, the average office space per person is 150-175 square feet. Open office spaces typically use about 125-175 square feet per person. Office spaces should include extra rooms or areas such as a kitchen, lounge, storage, showers, wellness, or library (see figure 5.1). Conference rooms genreally range from 100-375 square feet with 4-20 seats (Dalvet). Since uses and needs vary, rooms must accommodate to this (Abercrombie).

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A personal experience I have had regarding a rooms size being too small for its use is in my dorm room. The room was jsut big enough for each of us to have our own side (see figure 5.2). We each lofted our beds to fit our stuff more comfortably, however, it was a hassle climbing into bed. When my new roommate moved in, we bunked the beds, figure 5.0: The brown and neutral color scheme of the allowing us to have significantly more space. room ensures it is cohesive as a whole.

I still had the top bunk, not getting rid of the hassle of climbing up into bed. I believe room size needs vary greatly from person to person, not only because of their separate needs, but because of personal experience and preference. I myself have a small room at home already so the size difference was not much of annoyance. However, growing up as an only child, it made sharing the space with another person difficult. Others who figure 5.1: Google provies a series of activities for the were not used to the small space were not as workers, causing them to do more than sit at their desk. comfortable. I definitely agree offices should have a certain amount of square footage per person. To work as efficiently as possible, one must be as comfortable as possible. Being crammed into a small space with too many people can cause stress and anxiety. They should also definitely provide ammenities such as a kitch and lounge for the employees to relax and get back into a good headspace. figure 5.2: Western Michigan University’s Western Heights dorm rooms are just big enough for two beds and desks unless lofted.

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doors and windows

P E R SO NA L R E F L ECT IO N Doors can definitely make or break a space.

They take up a lot of wall space so you must be careful not to make it an eye sore. Before

D I S C O U R S E A N A LY S I S

we redid our house, our front door wa very

“If one were to give an account of all the doors one has closed and opened, of all the doors one would like to re-open, one would have to tell the story one one’s entire life.” GASTON BACHELARD

old and looked out of place. Now that it has been replaced, it looks more modern and matches the living room much better. Win-

The word door can have two meaninngs: an opening that gives access or an object that closes such an opening. the first can also be reffered to as a doorway. Doors are links that make connections between rooms and help them function together. They map our paths between rooms. Doors also act as important physical events in a space. Placing a door on a wall significantly changes a room as it uses up both wall and floor space. This is why the smaller room, the smaller and fewer the doors should be.

There is some overlap between doors and windows.

For example, French doors going to a garden would have some of the same characteristics as a window (see figure 6.0). Because windows are generally used to look out and not in, they seem to belong to the room (Abercrombie). Window treatments can change a room from cold and uninviting to warm and welcomng. They can provide privacy and help with controlling light. The treatments must stay consistent and balanced throughout the space. You must also be careful not to overpower the window with too many treatments (see figure 6.1) (Samygina). The function of a door is to allow access to a building and the different spaces, while windows provide ventilation and light (Civil Engineering).

Doors and windows may vary in functions greatly, however, they are both just as important and essential to a designers concept and plan.

dowa can do as much good or damage as doors. They also take up a lot of wall space, but they also provide a view to the outdoors.

This makes windows a little worse than doors as the view can ruin a room.I believe window treatments are necessary. A wide open win- figure 6.1: Too many window dow can be an eye sore if it does not provide coverings causes the room to look darker than usual. a nice view. They also give more privacy, especially in private spaces. As someone who does not necessarily like closing my window off, I still use light curtains to give myself some sense of privacy and to block out the sun when it is too bright. Figure 6.2 is a perfect representation of this. Even with windows and doors having different functions, they still have very similar functions within a design plan and concept.

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figure 6.0: A pair of french doors provides the functions of doors and windows.

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figure 6.2: The sheer curtains provide privacy while still letting a significant amout of light through.

furniture

P E R SO NA L R E F L ECT IO N Furniture definitely reflects the owners personality. My family all has different styles

D I S C O U R S E A N A LY S I S “I look at every piece of furniture and every object as an individual sculpture.” KELLY WEARSTLER

and types of furniture in their house. My

Furniture can be used practically or aesthetically.

Furniture edsign also accommodates more than the function that building design does. Historically, architects have seen their design process as being guided by their responses to utilitarian demands. It is hard to imagine a furniture designer to have such a simple view of their work as there are limited ways to sit in a chair but endless varieties of chair appearances.

Designers must choose the right furniture pieces to ensure they are compatible with the interiors concept. However, the furniture does not need to match in style to still be compatible (see figure 7.0). There are three types of furnishings. The first are ones that serve our body such as beds, sofas and chairs. The second are ones that serve our possessions. These include desks, shelves, and tables. The third and last are ones that only serve our sense. These include decor like vases, statues, and figurines (Abercrombie).

Furniture also reflects the owners personality. People gravitate toward the things they like. The living room is the most central part of your home, leading people to make assumptions about you based off of how it looks. The colors you choose, the accessories used, and the comfortable level reflect your style and preferences (Desmarais). Differernt furniture styles speak to different personality types. Those who enjoy traditional interiors tend to enjoy nostalgia and find these timeless pieces to be elegant. Someone who prefers modern or contemporary pieces may take trends seriously and is organized and serious (see figure 7.1). Someone who likes both modern and traditional pieces may prefer transitional styles. This combines these elements and allows people to enjoy company with no distractions (Mor Furniture for Less).

while I myself have more transitional style

grandma has more traditional style furniture furniture. My grandma is someone who likes to reflect on the past and it shows with the traditional style. I like modern pieces, but I also find value in some traditional ones.

figure 7.0: The vintage blue chairs are paired with a modern sofa and tied together with blue accents.

Figure 7.2 represents the transitional style of furniture I find ideal. Furniture pieces have many functions, all epending on the user. Tables can be used for eating, or only as a show for decorative pieces. Sofas can also be used for more than sittong. There are futons and pull-out sofas that provide sleeping areas.

Beds can also double as an office space since lofted beds leave an area underneath where

figure 7.1: The sleek and open design reflects the seriousness of contemporary design.

you can fit a table and chair or even a couch.

Furniture is something that is subjective just like art. Many people find certain pieces to be ugly or offensive while many others find them to be beautiful. Furniture is a part of design just like every other topic discussed.

It can make or break a design by how it is chosen and used.

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figure 7.2: The soft and subtle colors as well as the sofisticated furniture create a beatuiful transitional style room.

Text and article citations

figures list

Abercrombie, Stanley. “Art.” A Philosophy of Interior Design, Westview Press, 1990, pp. 125–135.

Abercrombie, Stanley. “Being Outside.” A Philosophy of Interior Design, Westview Press, 1990, pp. 1–3.

Abercrombie, Stanley. “Color and Light.” A Philosophy of Interior Design, Westview Press, 1990, pp. 111–119.

Abercrombie, Stanley. “Doors and Windows.” A Philosophy of Interior Design, Westview Press, 1990, pp. 59–69.

Abercrombie, Stanley. “Furniture.” A Philosophy of Interior Design, Westview Press, 1990, pp. 71–90.

Abercrombie, Stanley. “Plants.” A Philosophy of Interior Design, Westview Press, 1990, pp. 137–142.

Abercrombie, Stanley. “Rooms.” A Philosophy of Interior Design, Westview Press, 1990, pp. 29–36.

Cury, Yolinda. “The Importance of Art in Interior Design.” DcorStore Blog, 8 Nov. 2018, blog.dcorstore. com/2018/10/31/the-importance-of-art-in-interior-design/.

Dalvet, Gabrielle. “Office Space Per Employee: Determine a New Office Size.” At Work, 29 July 2019, robinpow ered.com/blog/new-office-determine-right-office-space-size/.

Desmarais, Melissa. “7 Ways Your Living Room Reflects Your Personality.” BabyGaga, BabyGaga, 15 June 2015, www.babygaga.com/7-ways-your-living-room-reflects-your-personality/.

Gloede, Katie. “7 Ways to Enhance Indoor Environments with Biophilic Design.” Architect Magazine, www. architectmagazine.com/technology/7-ways-to-enhance-indoor-environments-with-biophilic-design_o.

Gremillion, Allison S. “How Color Impacts Emotions and Behaviors.” 99designs, 99designs, 24 Jan. 2020, 99de signs.com/blog/tips/how-color-impacts-emotions-and-behaviors/.

“Health and Well-Being Benefits of Plants.” Ellison Chair in International Floriculture, ellisonchair.tamu.edu/ health-and-well-being-benefits-of-plants/.

“Home Remodeling: The Average Room Size in a House in United States.” Easymove, geteasymove.com/blog/ home-remodeling-the-average-room-size-in-a-house-in-united-states.

“Indirect Versus Direct Biophilic Design.” TruVine Design, 1 Jan. 2019, truvinedesign.com/2019/01/01/indi rect-versus-direct-biophilic-design/.

James, Odokonyero, and Jean. “Doors and Windows.” Civil Engineering, 12 May 2015, www.civilengineeringx. com/super-structures/doors-and-windows/.

S, Prabhat. “Difference Between Art and Craft.” Difference Between Similar Terms and Objects, 14 Jan. 2011, www.differencebetween.net/miscellaneous/difference-between-art-and-craft/.

Samygina, Anna. “Windows in Interior.” Medium, 30 Mar. 2017, medium.com/learning-about-interior-design/ windows-in-interior-b5efa542907f.

“The Psychological Impact of Light and Color.” TCP Lighting, 27 Dec. 2017, www.tcpi.com/psychological-im pact-light-color/.

“The Use of Plants in Modern Interior Design: Benefits & Tips.” Woodpecker Flooring USA, 22 Oct. 2019, wood peckerflooring.co.uk/us/blog/plants-modern-interior-design/.

“WHAT DOES YOUR FURNITURE SAY ABOUT YOU? A GUIDE TO HOW DIFFERENT FURNITURE STYLES SPEAK TO CERTAIN PERSONALITY TYPES.” Mor Furniture for Less, www.morfurniture.com/blogs/ what-does-your-furniture-style-say-about-you.

figure 1.0: Direct nature is incorporated through the planting of trees indoors.; Oki, Hirouyki. ArchDaily, 11 Mar. 2020, https://www.archdaily.com/935258/biophilia-bringing-nature-into-interior-design. figure 1.1: Indirect nature is incorporated through the use of leafy wallpaper and natural colors.; Matt Aspiotis Morley, https://www.mattmorley.net/blog/biophilic-design-botanical-wallpapers-nature-murals. figure 1.2: A man relaxes in the comforts of his home while still surrounded by nature.; Heath, Oliver. Love Chic Living, https://lovechicliving.co.uk/how-to-bring-some-zen-to-your-home-biophilic-design/. figure 2.0: A large Rubber Plant is ideal for minimalistic interiors by bringing nature in but limiting clutter.; Javier, Carmen. Carmen Javier, https://carmenjavier.co/2019/03/27/10-chill-indoor-plants-for-minimalisthomes/. figure 2.1: Small plants can efficiently fit in unusual places.; Wurm, Michael. Inspired by Charm, https://inspired bycharm.com/modern-kitchen-herb-garden/. figure 2.2: A Fiddle Leaf Fig sits in an otherwise empty corner.; Henderson, Cate. Style Mutt Home, http://www. stylemutthome.com/blog/2016/12/06/winter-eclectic-home-tour. figure 3.0: Warm colors brighten up interiors and give off optimistic and happy vibes.; Build Direct, https://www. builddirect.com/blog/color-combinations-creating-visual-warmth-with-home-decor/. figure 3.1: Cool colors give off a light but mellow and calming vibe.; Impressive Interior Design, https://www. impressiveinteriordesign.com/designing-with-warm-and-cool-colors-is-something-different/. figure 3.2: The windows provide an abundance of natural light with the light pink increasing the brightness.; Historicnyebeach, http://www.historicnyebeach.com/light-pink-room.html. figure 4.0: A mural sits behind a couch, making an otherwise empty wall something interesting to look at.; ` Maryan Interior Design, http://maryaninteriordesign.blogspot.com/2014/05/geometric-walls_5.html. figure 4.1: A blank wall gives the space an unfinished look.; Auberson, Rosemarie. Curated Interior, https:// curatedinterior.com/neutral-art/?utm_medium=social&utm_source=pinterest&utm_campaign=tail wind_tribes&utm_content=tribes&utm_term=800043202_33255734_240881. figure 4.2: A gallery wall turns a boring and awkward corner into a thing of beauty.; Interior Design Blogs, http:// www.interiordesignblogs.eu/lets-do-this-fill-a-blank-wall-in-your-home-apartment-therapy-weekendproject/. figure 5.0: The brown and neutral color scheme of the room ensures it is cohesive as a whole.; Nagele, Matas.

Home Designing, http://www.home-designing.com/cohesive-colour-themes-archways-and-exposedwooden-beams. figure 5.1: Google provies a series of activities for the workers, causing them to do more than sit at their desk.; Schroeder Solutions, http://schroedersolutions.com/creating-company-culture-cool-workplaces/. figure 5.2: Western Michigan University’s Western Heights dorm rooms are just big enough for two beds and desks unless lofted.; Gannon, Kevin. K102.5, https://k1025.com/wmu-dorms-are-gulags/. figure 6.0: A pair of french doors provides the functions of doors and windows.; Window World, https://www. windowworlddc.com/doors/french/#gallery-1865163851-5. figure 6.1: Too many window coverings causes the room to look darker than usual. ; Elrene Home Fashions, https://www.elrene.com/products/antonia-blackout-curtain-panel-collection?_pos=1&_ sid=a6ea544d4&_ss=r. figure 6.2: The sheer curtains provide privacy while still letting a significant amout of light through.; Houzz, https://www.houzz.com/magazine/the-many-reasons-to-embrace-sheer-curtains-stsetivwvs~53220688. figure 7.0: The vintage blue chairs are paired with a modern sofa and tied together with blue accents.; Urban Rythm, https://urbanrhythm.com.au/blogs/urstyle/how-to-mix-and-match-furniture-styles-in-your-in terior. figure 7.1: The sleek and open design reflects the seriousness of contemporary design.; Loof, Thomas. Architec tural Digest, https://www.architecturaldigest.com/gallery/contemporary-interior-design. figure 7.2: The soft and subtle colors as well as the sofisticated furniture create a beatuiful transitional style room.; Houzz, https://www.houzz.com/magazine/your-guide-to-transitional-style-stsetivwvs~121779610.

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