“critical analysis of line types seen in interiors and its effect on the visual aspect of the interi

“Critical analysis of line types seen in interiors and its effect on the visual aspect of the interior spaces�

An Essay submitted to the National School of Business Management in partial fulfilment of the requirements for the degree of Bachelor of Arts in Interior Design awarded by Limkokwing University of Creative Technology, Malaysia

By SHAHAN SAHEED 07 September 2015 BA-LMK-INT-12.2-031

Declaration I, SHAHAN SAHEED declare that this essay constitutes original work carried out by me to the best of my knowledge. This essay or its contents have not been submitted to Limkokwing University or any other institution as part of course work or examination.

…………………………

Date

……………………….

Signature

i

“Critical analysis of line types seen in interiors and its effect on the visual aspect of the interior spaces�

Abstract Line is one of the most basic elements of design theory. Line is classified as straight, curved, vertical, horizontal, or diagonal—depending on how the viewer uses or perceives it. Line is used in interiors with other principles, overall use of the line and its relationship to the design, the users, and their inner feelings.

This research is carried out to learn about one of the design elements known as Line Types, a very significant topic in Architecture and Interior Designing. In analysing the same, this research looks at its effects on interior spaces and how it is being visualised by people. This conducted, mainly by consulting different sources like Books, Interior Design & Architecture Magazines, Web Sites and uses a Case study approach. Interviews have also been carried out with Architects and Interior Designers, Self-Observations and Questioners were also used as additional Research Methods, findings of which are intended to be presented in an analytical manner.

This chapter illustrates the use of line element and its effects on interior space. It can be concluded that the impact is not only to people but to the aesthetic side of the interior as well. Different people have different point of views on this topic. Therefore, line types can have strong influences on people visual aspects.

KeywordsDesign element, Line Types, interior spaces, design theory, vertical and horizontal lines ii

Acknowledgments I would first of all like to thank my supervisor Architect. Niranjika Gunaratne for guiding me through this project every step of the way.

I sincerely thank my parents for their continuous backing. My classmates who have been a great support and everyone who has been a constant source of inspiration and encouragement at times when this project seemed beyond reach.

iii

Table of Contents Declaration Abstract Acknowledgments Table of contents List of figures List of Tables Abbreviations

i ii iii iv v vi vii

Chapter 01- Introduction 1. Introduction 1.1.

1.2.

1.3.

1.4.

1.5.

Research Problem and its Background Research questions Core Argument Purpose and Objectives of the Study Research Methodology 1.5.1. Research Design 1.5.2. Research Methods 1.6. Organization of the Thesis

1 2 2 2 3 3 3 4

Chapter 02- Understanding the Language and Elements of Design 2. Understanding the Language and Elements of Design 2.1. Introduction 2.2. What is Elements of design?

2.2.1. Elements of design 2.2.2. Line types and Properties of line types 2.2.3. How architected, interiors use lines types for their design 2.3. Lobby interior spaces in Sri-Lanka 2.4. Conclusions

5 6 7 13 15

Chapter 03- Research setting 3. Research setting 3.1. Introduction 3.2. Development of the research tools 3.2.1. Self-observation 3.2.2. Questionnaires and interviews 3.2.3. Photography survey 3.3. Case Study 3.4. Data Collection 3.5. Data Analysis 3.6. Analysing qualitative data 3.7. Conclusions

16 16 16 16 17 17 17 18 18 18

5

iv

Chapter 04-Evaluation 4. Evaluation 4.1. Introduction 4.2. National Lottery Board - site background and information 4.3. Zenith Dentistry -site background and information 4.4. Effect on the design elements on the two interior spaces 4.4.1. Self-observation 4.4.2. Interviews 4.4.3. Organization of Data and Presentation of data 4.5. Conclusions Chapter 05- Conclusions 5. Conclusions 6. References 7. Bibliography Appendices I. Interview Questionnaire at National Lottery Board II. Interview Questionnaire at Zenith Dentistry

19 19 20 20 23 24 26

27 29 31 33 34

v

List of figures

Figure 2.1- line type and thickness Figure 2.2 - LB Finance Building, Colombo Figure 2.3- Havelock City, Colombo Figure 2.4- National School of Business Management, High Level Rd, Colombo Figure 2.5- Sen-saal at nawala Figure 2.6-Lakbima Office Figure 2.7-Bank of Ceylon Figure 2.8-sampath platinum centre Figure 2.9- Cinnamon Grand Colombo Figure 2.10- Hotel Galadari Figure 2.11- Manhattan Fish Market Restaurant Colombo Figure 2.12- Cinnamon Grand Colombo lobby area Figure 2.13- Echo Restaurant at Cinnamon Grand Colombo Figure 2.14- Tintagel Restaurant Colombo Figure 4.1-National Lottery Board entrance Figure 4.2- Zenith Dentistry entrance Figure 4.3-National Lottery Board lobby Figure 4.4-National Lottery Board seating area Figure 4.5- Zenith Dentistry lobby Figure 4.6- Zenith Dentistry seating area

List of Tables Table 4.1 Interviews results did on works at National Lottery Board Table 4.2 Interviews results did on custermes at National Lottery Board Table 4.3 Interviews results did on works at Zenith Dentistry Table 4.4 Interviews results did on custermes at Zenith Dentistry

vi

Abbreviation Abbreviation BA NSBM Fig Rd NLB

Meaning Bachelor of Arts National School of Business Management Figure Road National Lotteries Board

vii

Chapter One Introduction

1

1. Introduction

1.1. Research Problems and its Background This research is about one of the design elements which is known as Line Types and its effects on the interior spaces and how it is being visualised by people.

Design elements are components or parts which can be defined in any visual design or work of art. They are the structure of the work, and can carry a wide variety of messages. The details may be differentiated by line, shape, forms, space, colour, and texture. This Research will provide the readers a detailed analysis of Line elements.

To begin with, line is a form with a width and a length, but has no depth. When it comes to lines there are vertical lines, horizontal lines, curved lines and diagonal lines. Each has a different characteristics and plays a major role when used in design spaces. The direction of a line can convey moods for example, horizontal lines are said to represent calm and quiet, vertical lines suggest a potential for movement, while diagonal lines strongly suggest movement and is known to give vitality to a picture.

Out of four major types of Lines mentioned above this research content mainly focuses on Horizontal Line and Vertical Line.

Lines applied horizontally often evoke feelings of stability, grounding, emphasis and direction. So, although horizontal lines tend create length and lower the ceiling of a space they can also be applied to direct the viewer to a particular focal point.

In contract, vertical lines are often associated with strength (pillar of strength), stability, balance, and elevation. It has been hypothesized that viewing vertical lines is unnatural compared to viewing horizontal lines. Additionally, vertical lines extend away from our visual plane. For these reasons, the length of a line applied vertically is often extended lending to the feeling of height in a space.

2

1.2. Research questions Objective of this study is to examine the line types seen in interiors and its effect on the interior spaces, in particular focussing on lobby areas. 

How the design element known as lines can affect interior spaces?



How the use of both vertical and horizontal line types can affect the visual aspect when they are both used simultaneously?

1.3. Core Argument

When working with design elements, each space with human intervention must be analysed as they may influence human reactions. Therefore, this research is based on the analysis of line types seen in interiors and its effect on the visual aspect of the interior spaces.

1.4. Purpose and Objectives of the Study Purpose of this research is to understand and learn about line types which has been used in architecture and interior design fields. 

Purpose of using these elements for various designs.



How it affects the interiors and the visual aspect of the interior spaces.



The concept of the element used by designers and its effect on interior spaces.

This research is intended to benefit interior designers to understand interior spaces better and to use line elements in an appropriate manner.

1.5. Research Methodology

3

This dissertation is approached in different research methods so that it will carry more reliable information. Methodologies used in this research are Selfobservation, interviews, questioners, getting opinion from architects and people who work in the selected interior spaces regarding the topic and a preliminary study.

This research has used different strategies like consulting different sources such as Books, Interior Design & Architecture Magazines and Web Sites. And also this research is based on opinion of Architects, Interior Designers and workers of the selected interior spaces who provided information in different point of views as people feel differently which helps to give a realistic view to the research. In addition, Self-Observations and Questioners were also used as Research Methods.

1.5.1. Research Design Research is been presented in Content Analysis technique. Information is gathered in two different ways. These two ways are compared and analysed through content analysis technique and presented in this research

1.5.2. Research Methods

Research methods are self-observations, interviews, comments from architects and interior designers and various other related sources. These methods are carried out to ascertain accurate information to fulfil the research.

During self-observations process will try to find interior spaces and have my own opinions about the space which have been selected. To be informative will be carrying out questionnaire sessions from work and the customers about their comments about the space. Will be having interviews with architects, interior designers to gather information about design element and how they put things into practise. Books, magazines and the internet is also used as other methods of collecting information.

These methods were used to get more accurate and wide range of information.

4

1.6. Organization of the Thesis This section gives a brief summary of each chapter. On this, Chapter 1 will elaborate on research tools, methods, also defines the dissertation further.

Chapter 2 is the literature review. This chapter will discuss the Elements of design, Line types and Properties of line types, how architects, interior designees use lines types for their designs.

Chapter 3 consist of the filed work based on the two selected interior spaces.

Design tools, approaches will be discussed in this chapter as well. Chapter 4 will be analysis of data generated by different tools and methods while Chapter 5 is dedicated to the conclusion of all previous chapters explained above.

5

Chapter Two Understanding the Language and Elements of Design

6

2. Understanding the Language and Elements of Design 2.1. Introduction This chapter is intended to set out the fundamentals of designer and the approaches taken toward the designs in order to understand principles and examples of buildings which has used this methods in its constructions. As Charles Eames puts it: “Design is a plan for arranging elements in such a way as best to accomplish a particular purpose.�

In light of the above, it is useful at this juncture to know what a line means -a line is a mark made by a moving point and having psychological impact according to its direction, weight, and the variations in its direction and weight.

It is an enormously useful and versatile graphic device that is made to function in both visual and verbal ways. They often dominate public architecture, from cathedrals to corporate headquarters. Extended perpendicular lines suggest an overpowering grandeur, beyond ordinary human measure. Six integral components used in the creation of a design. Line, Colour. Space. Texture, Value, Form and Shape in architected filed. After many years in the business our Interior Designers have completed an array of successful. These engaging spaces did not happen by chance. Design has a technical aspect to it referred to as the elements and principals of design, and when combined successfully, evoke emotion from our interactions with the interior environment in a commercial settings.

2.2. What is Elements of design?

2.2.1.

Elements of design

In the late 19th century, Chicago architect Louis Sullivan wrote, "Form follows function." This dictum became one of the rallying cries of modern design in the 20th century, and it remains one of the best-known architecture aphorisms today. What Sullivan implied was that a building's form is a natural consequence of functional requirements. Look at Sullivan's own architecture reveals some of the greatest ornamentation in American architecture. That observation lends weight to a counterargument: that there are multiple ways of meeting the same function (getting people from the first floor to the second; bringing light into a room; making a hinge). Once one of those pathways has been 7

selected, aesthetic considerations come into play. The architect is responsible for resolving all these elements into a singular building design.

And in every period these functional buildings have also embodied their cultures' principles of beauty—and, perhaps less explicitly, their underlying beliefs concerning spirituality, power structures, or civic engagement. Simply put, they have fulfilled roles and engaged aesthetics simultaneously. Architectural expression is constrained or, in some cases, shaped by technical, economic, and social conditions. (S.E. Rasmussen,1959) 2.2.2. Line types and Properties of line types “All pictorial form begins with the point that sets itself in motion…

The point moves . . . and the line comes into being—the first dimension.

If the line shifts to form a plane, we obtain a two-dimensional element.

In the movement from plane to spaces, the clash of planes gives rise to Body (three-dimensional) . . . A summary of the kinetic energies Which move the point into a line, the line into a plane, And the plane into a spatial dimension.”

Paul Klee The Thinking Eye: The Notebooks of Paul Klee A line is a mark made by a moving point and having psychological impact according to its direction, weight, and the variations in its direction and weight. It is an enormously useful and versatile graphic device that is made to function in both visual and verbal ways. It can act as a symbolic language, or it can communicate emotion through its character and direction Line is not necessarily an artificial creation of the artist or designer; it exists in nature as a structural feature such as branches, or as surface design, such as striping on a tiger or a seashell. It can function independently to suggest forms that can be recognized, even when the lines are limited in extent. However, line is not always explicit. It can exist by implication, as the edge of forms.

8

Figure 2.1- line type and thickness Horizontal line suggests a feeling of rest or repose. Objects parallel to the earth are at rest in relation to gravity. Therefore compositions in which horizontal lines dominate tend to be quiet and restful in feeling. One of the hallmarks of Frank Lloyd Wright's architectural style is its use of strong horizontal elements which stress the relationship of the structure to the land. Vertical lines communicate a feeling of loftiness and spirituality.

Erect lines seem to extend upwards beyond human reach, toward the sky.

They often dominate public architecture, from cathedrals to corporate headquarters. Extended perpendicular lines suggest an overpowering grandeur, beyond ordinary human measure. (Ching, Frank, 1943) Horizontal and vertical lines in combination communicate stability and solidity. Rectilinear forms stay put in relation to gravity, and are not likely to tip over. The quality of the line is in itself a fundamental visual language, to an extent that cannot be claimed for any other single element.

Its use is so universal that we are all profoundly sensitive to it. Even without an artist's training, we can extract considerable meaning from the kind of line used in a drawing. It is possible to recognize the soft, irregular lines of a quick sketch from life, On the other hand, the crisp, carefully placed lines of the rhinoceros are typical of a more studied, scrupulously worked studio drawing. The lines suggest that this was not drawn from life, but from hearsay. This is also evident from the fact that Durer drew this rather inaccurate image in fifteenth century Europe when he could only have known of this African animal from travellers' tales. The quality of line in itself contributes to the mood of the work, and for the master artist, the quality of line is a fundamental expression of his/her style.

2.2.3. How architected, interior designers use lines types for their design Six integral components used in the creation of a design. Line, Colour.

Space. Texture, Value, Form and Shape.

Vertical – Represents dignity, formality, stability, and strength Horizontal – Represents calm, peace, and relaxation Diagonal – Represents action, activity, excitement, and movement Curved – Represents freedom, the natural, having the appearance of softness, and creates a soothing feeling or mood.

Following are some examples of such buildings which have been identified to have design qualities. If one is to observe the pictures of the buildings they are constructed in a vertical form which articulates a sense 9

of Stability. In addition, the glass windows have that vertical form in order for the building to look higher than it actually is. Vertical linear such as columns, obelisks, and towers, have been used throughout historical buildings. Vertical linear elements can also define a transparent volume of space. LB Finance Building is a good example of a building which brings to life all of the above said effects, articulating Stability and strength effect (Fig 2.2). To add to the list, Havelock City buildings and NSBM building as few other examples of buildings which has adopted a vertical form and the glass faรงade content in vertical lines to its structure. (Fig 2.3 and Fig 2.4)

Figure 2.2 - LB Finance Building, Colombo

Figure 2.3- Havelock City, Colombo

10

Figure 2.4- National School of Business Management, High Level Rd, Colombo

These examples shows how horizontal lines can be incorporated into designs. These buildings restricts the eye level to a certain degree and give a calm feeling. Linear members that possess the necessary material strength can perform structural functions, in these three examples, linear elements. (Fig 2.5). On a smaller scale, lines articulates the edges and surfaces of planes and volumes. These lines can be expressed by joints within or between building materials, by frames around window or door openings, or by a structural grid of columns and beams. How these linear elements affect the texture of a surface will depend on their visual weight, spacing, and direction (Fig 2.6).

Figure 2.5- Sen-saal at nawala

11

Figure 2.6-Lakbima Office

After many years of trial and error our Interior Designers have completed an array of successful designs which has technical aspects to it referred to as the elements and principals of design, and when combined successfully in interior environment and in commercial settings, these emotions assist to reinforce brands and corporate messages. Line – horizontal, vertical, curving, diagonal; each has an impact on how one perceives space. Lines can also be combined to create shapes and planes, or form. Structural elements, applied finishes, even lighting can all be applied to create strong lines within a space and lines are a great way to do it. They are also very voluminous taking up space within an interior. By applying lines in a way that relates to brand messages, one can create a space that appeals to respective customers and highlights the product one sells. Lines applied horizontally often portray stability, grounding, emphasis and direction. So, although horizontal lines tend to create length and lower the ceiling of a space they can also be applied to direct the viewer to a particular focal point. For example, in Bank of Ceylon lobby area they have used horizontal form to decorate their interior space (Fig2.7), Sampath platinum centre is another good ensample of how horizontal form can be achieved by using deferent materials and for deferent areas (Fig 2.8).

12

Figure 2.7-Bank of Ceylon

Figure 2.8-sampath platinum centre

Vertical lines are often associated with strength (pillar of strength), stability, balance and elevation. It has been hypothesized that viewing vertical lines are unnatural compared to viewing horizontal lines.

Additionally, vertical lines extend away from our visual plane. For these reasons, the length of a line applied vertically is often extended lending to the feeling of height in a space. For example, as shown in picture 2.10 the pillars used in the seating area in Hotel Galadari uses Vertical lines in the wall panel so as to give an interior space a bigger volume (Fig 2.10).

13

Figure 2.10- Hotel Galadari

Figure 2.10- Hotel Galadari

14

2.3. Lobby interior spaces in Sri-Lanka This section will cover lobby interior space seen in srilanka, this example will give an idea of how element is used in interior spaces.

Figure 2.11- Manhattan Fish Market Restaurant Colombo

Figure 2.12- Cinnamon Grand Colombo lobby area

Figure 2.13- Echo Restaurant at Cinnamon Grand Colombo

15

Figure 2.14- Tintagel Restaurant Colombo

Manhattan Fish Market Restaurant Colombo is a fine example which showcases the horizontal line effect in its dining area (Fig 2.11).

Figure 2.12 shows how both vertical and horizontal lines can be incorporated together and how it shows in the interior designs.

Echo Restaurant uses an interior design concept known as acoustic wall panel which has a horizontal form. These panels have been used in the dining areas to control the sound and used as a decorative feature (Fig 2.13). In Tintagel Restaurant Colombo. They have used vertical fabric wall panels to enhance seating arrangement to their interior (Fig 2.14).

16

2.4. Conclusions As per different literature found on the subject element of design and its effects, there is clear evidence that designer’s incorporate architectural elements to their designs where the impact of which is either interior or exterior.

It appears that many architects as well as interior designers have shown a keen interest regarding design elements and in fact, an important element in the designing filed. As illustrated above it is clear that for interior designs, it has become a new trend and for design concepts the use of these elements are preferred in deferent ways.

17

Chapter Three Research Setting

18

3. Research setting 3.1. Introduction

This chapter will set out the methodologies and the development of the research tools needed to complete the case study. Two case studies included in this framework is Zenith Dentistry and National Lottery Board two different commercial buildings in Sri Lanka.

Furthermore this chapter will also discuss on the data collection. The observations are also taken into consideration when analysing the gathered data. In addition, data collected from the two sites pie charts, bar charts are also used for better illustrations. The photographic survey will be analysed and taken into consideration to as a compilation of data.

3.2. Development of the research tools This research is a qualitative research gather information of the people who have used the two selected sites. Research will be done with the following research tools:   

Self-observation Questionnaires and interviews Photography survey

3.2.1. Self-observation 2 hours of observation (1 hour in each place) was done to gather information about the site and to study the design during which Line type effect on the visual aspect of the interior spaces will be observed and photographic survey will go hand in hand to compile data..

3.2.2. Questionnaires and interviews From the chosen spaces 10 people were presented with the questionnaire to highlight on their personal ideas and views on the line type they see on the interior.

3.2.3. Photography survey 19

This method occupied a key role in this research as the photographs were analysed to gather data. The photographs was taken covering all the necessary element in the space.

Photographs were taken according to the organized guide to analyse and also as evidential proof.

3.3. Case Study A case study involves an up-close, in-depth, and detailed examination of a subject (the case), as well as its related contextual conditions. Case studies appear with great frequency throughout popular works, with nearly anybody able to claim to have done one. Case studies also can be produced by following a formal research method.

Two case study chosen for this research are:  

Zenith Dentistry at Dehiwala , Srilanka NLB at kolupity .Colombo, Srilanka In this study at the above mentioned places I will try to study the elements in these interior and how far would they impact on the users.

The experiment was conducted through a time span of 1hour spent on each place to gather information.

3.4. Data Collection Data collection is the process of gathering and measuring information on variables of interest, in an established systematic fashion that enables one to answer stated research questions hypotheses, and evaluate outcomes.

Deferent kind of data will give deferent point of views to be analysed.

Entering of data collected in different form in order to make the process fast.it is important to have a organise mothered to enter all data so analysing of data become easier.

Excel charts will be used to enter data and it will be useful in analysing in the next chapter. By using different research tools it is able to build a theory based on the data which was collected.

This is the framework which data collection phase is developed in order to properly collect and analysed data.

20

3.5. Data Analysis Analysis of data is a process of inspecting, cleaning, transforming, and modelling data with the goal of discovering useful information, suggesting conclusions, and supporting decision-making. Data analysis has multiple facets and approaches, encompassing diverse techniques under a variety of names, in different business, science, and social science domains.

After collecting data it will decided on how line types used in interior spaces effect on the visual aspect and how people who visit this places feel them. With the questioners provide on the people for these interior spaces it could be also decided on the hypothesis if the element of the line types.

Key elements are taken by the research doing the assessment the visual method for the research has occupied a key role in this research. And photographs were analysed .interior elements like Horizontal lines, vertical lines, these objective taken into consideration when analysed the photograph.

3.6. Analysing qualitative data Key element is taken by the research doing the assessment .the visual method for the research has occupied a key role in this research. And photography were analysed .interior elements. Horizontal lines, vertical lines, these objective taken into consideration when analysed the photograph.

3.7. Conclusions

This chapter has revealed the research methodologies chosen for this research in order to get data, wherein it explains the methodologies carried out to make understand the minds of the reader as to why the choices were made.

Reason for the use of such methodologies has also been recorded and discussed with the chosen methods that could be used to collect data in this research.

Samples were also defined in this chapter to get a clear understanding of the case studies.

This chapter has systematically supported the research methodologies used in order to gather the required data from the two case studies chosen for this research,

21

Chapter Four Evaluation

22

4. Evaluation 4.1. Introduction Evaluation is a methodological area that is closely related to research which utilizes many of the same methodologies used in research. This chapter sets out an in-depth analysis on the evaluations based on the collected data which were discussed in the earlier chapters. As such, this chapter is intended to review and reflection the site background and impact on the interiors.

Findings on the field work will be a major part on this chapter. Gathered information clearly organized, examined and presented.

4.2. National Lottery Board - site background and information Location - No 356,Dr Colvin R de Silva Mawatha,Colombo Billed mark as a government agency to earn significant financial resources for the development of the National Lotteries Board Lankan lottery history and people's welfare in the country. National Lotteries Board began under the Finance Act No. 11 of 1963. Key reason to choose this space is due to its renovations carried out recently and they have incorporated new interior trends to their design which was found useful for the chosen topic which is elements of design and is elaborated in this interior space as seen in the lobby area of the National Lottery Board. (Fig4.1).

23

Figure 4.1-National Lottery Board entrance 4.3. - Zenith Dentistry -site background and information Location –55,hospital road ,dehiwala This building is a dental surgery hospital. Reason to choose this site for the research was because it was built in recent times and its interior is connected to this dissertation topic. The main entrance to the Zenith Dentistry building is shown in Figure 4.2

Figure 4.2- Zenith Dentistry entrance

4.4. Effect on the design elements on the two interior spaces

4.4.1. Self-observation In this section I will be sharing my experience based on my observations when I visited those two sites [NLB and - Zenith Dentistry]. In both sites the interior has been done by using glass facades. Even though the area concerned is the same, namely the lobby, it has been a different experience visiting the two chosen sites given the difference in the interior spaces.Based on my experience I tried to observe the space and the arrangement to understand the concept of the design. Each place I spent approximately 1 hour and gathered information by conducting 24

interviews which gave me a good idea about how people see this interiors and how it tallies with my observations.

National Lottery Board The Figure 4.3 shown below is the main lobby counter, wherein a timber panel wall is visible when entering the building from its main road entrance. On this, one would be able to see its horizontal lines which restricts the eye level to a certain degree, and gives direction to other places in the lobby area like sitting areas, counter area etc (Fig 43) which were my key observations. Figure 4.4 shows how the sitting area in the lobby. For this, they have used glass stripes to obtain a horizontal line effect which is a good example where eye levels are bought to a certain degree(Fig4.4).

Figure 4.3-National Lottery Board lobby

25

Figure 4.4-National Lottery Board seating area Zenith Dentistry

Figure 4.5- Zenith Dentistry lobby

26

Figure 4.6- Zenith Dentistry seating area

In my self-observation at Zenith Dentistry, I collected data and did the Analysis of the data by conducting interviews with the people visiting the premises.

In my observation, the interior looked connected to the exterior appearances because building is more horizontal in shape than vertical, and wall covered with vertical timber panel and gives a higher elevation effect. (Fig 4.5) In my view it does not give any direction but gives a focal point effect and when you look at the panel your eye restrict your view to look any direction you desire to see of that space. These are the key aspect of my observations (Fig 4.6).

4.4.2. Interviews Questionnaires were prepared to gather information on the views and opinions during my interview with the people who were present at the premises during my stay there. In the process, I managed to interview different people with different views some of whom did not have any ideas yet, volunteered to share their feelings on the spot to assist me with my research.

27

I tried to interview 10 people from each site, 5 visiting people and 5 employees, in the process found some interesting answers and comments.

Table 4.1 shows the Interviews results of the employees of National Lottery Board and Table 4.2 illustrates the results of the customers’ at National Lottery Board.

Table 4.3 is the results of the employee Interviews at Zenith Dentistry and Table 4.4 is its customers interview results.

4.5. Organization and Presentation of Data National Lottery Board

workes 3.5 3 2.5 2 1.5

1 0.5 0 ys

feelings of stability

no

feelings of grounding

don’t know

direction

peace and relaxation

Table 4.1 Interviews results did on works at National Lottery Board 28

custermes

4.5 4 3.5 3 2.5 2 1.5 1 0.5 0 yes feelings of stability

no feelings of grounding

don’t know direction peace and relaxation

Table 4.2 Interviews results did on custermes at National Lottery Board Zenith Dentistry

workes 4.5 4 3.5 3

2.5 2 1.5 1 0.5 0 yes

no

balance

stability

don’t know

feeling of height

formality

Table 4.3 Interviews results did on works at Zenith Dentistry

29

custermes 3.5 3 2.5 2 1.5 1 0.5 0 yes

no balance

stability

don’t know feeling of hight

formaility

Table 4.4 Interviews results did on custermes at Zenith Dentistry

4.6. Conclusions This chapter illustrated the use of line element and its effects on interior space. It can be concluded that the impact is not only to people but to the aesthetic side of the interior as well. Different people have different point of views on this topic. Therefore, line types can have strong influences on people’s visual aspects.

30

Chapter Five Conclusions

31

5. Conclusions In this chapter, the research procedure is listed out and summarises this document and The entire research process with conclusions and implications discussed at the end.

At the beginning of the research the taskforce was defined giving a brief introduction to the topic with Research Problems and its Background, Purpose and Objectives of the Study etcas factors which lead to study about design elements in architecture which has become more and more common in an urbanised world.

But in interior design filed is been new element in modern trend.as an interior design student it is important to about new trend in design and how it will affect the interiors and people.

This research is about one of the design elements which is known as Line Types and its effects on the interior spaces and how it is being visualised by people.

Design elements are components or parts which can be defined in any visual design or work of art. The details may be differentiated by line, shape, forms, space, colour, and texture. Out of four major types of Lines mentioned above this research content mainly focused on Horizontal Line and Vertical Line.

As mention on chapter 2 the fundamentals of designs and the approaches taken towards the designs in order to understand principles and how it applies in practise was considered an important factor. As established earlier in this research, a line is a mark made by a moving point and having psychological impact according to its direction, weight, and the variations in its direction and weight. It is an enormously useful and versatile graphic device that is made to function in both visual and verbal ways. It can function independently to suggest forms that can be recognized, even when the lines are limited in extent. However, line is not always explicit. It can exist by implication, as the edge of forms. Horizontal and vertical lines in combination communicate stability and solidity. Rectilinear forms stay put in relation to gravity, and are not likely to tip over. The quality of the line is in itself a fundamental visual language, to an extent that cannot be claimed for any other single element. Its use is so universal that we are all profoundly sensitive to it. Even without an artist's training, we can extract considerable meaning from the kind of line used in a drawing. The quality of line in itself contributes to the mood of the work, and for the master artist, the quality of line is a fundamental expression of his/her style.

With my development of the research tools I manage to develop a strong analysis of data to evaluate my analysis and built a strong case of whether element of design affects the interior space and how people respond to it. A case study is applied to gather people’s ideas and explore the Effects of design elements. There are two major sections in this part. The first one being interviews with people and second being self-observation in order to feel the space and identify the effect of the design element. All items in the context are analysed and presented.

32

Line is the connection of two or more points. The eye also perceives line when two planes meet and when shape is seen in as an outline. Lines may be straight (horizontal or vertical), angular (diagonal or zigzag), and curved (circular, tightly curved). Lines are used by interior designers to create effects such as increased height, width, or the impression of movement. The psychology of line is important to creating ambience or a particular mood in interior design. In the case study this design properties was self-observed. Zenith Dentistry they have used vertical panel so that they can get the interior look like higher than it look.

Combining lines are used in combination in every interior, yet often one line will be planned to dominate in order to accomplish a desired effect, such as the vertical lines that produce awe and lift the eye upward, vertical and horizontal lines generally form the structural foundation for a building in the form of perpendicular floors, walls, and ceilings. Angular and curved lines are utilized for reinforcement, strength, interest, movement, and relief, as seen in triangular roof truss systems and angled ceilings or walls.in concluding the research analysing the data collected through self-observation and interviews and compiling the gathered information, ideas and knowledge I found an answer to my topic and came to conclusions on how people see of line types in interiors and its effect on the visual aspect of the interior spaces.( RosemaRy KilmeR, D W. otie KilmeR,) Horizontal Lines: Weighty, Secure, Restful, Repose Horizontal lines suggest a solid, harmonious relationship with the earth; earth’s gravity has no further pull.

Long horizontal lines can visually expand space, making rooms appear wider or longer. When found in a linking architectural detail such as a moulding, horizontal lines provide a smooth transition between rooms or areas. If they lead to a focal point, they help to emphasize it. An interior with too many horizontal lines may become boring and lack interest.

Vertical Lines: Imposing, Lofty, Solid, Formal, Restrained Vertical lines lift the eye upward. They have the ability to lift the mind and the spirit as well. As such, vertical lines are a purposeful tool for architects and designers of churches and public buildings because they inspire awe and tend to diminish the significance of human scale. The use of vertical lines can make an interior seem higher, apparently increasing vertical space. Vertical lines are stable because they represent a perpendicular resistance to earth’s gravity. They convey a feeling of strength and dignity. This formality can bring a stiffness or commanding feeling to the interior. Too many vertical lines can cause a feeling of uneasiness, of too much confinement and predictability.

Overall, it could be concluded that line type design elements play a crucial role in modern time architecture and interior designs and enhances the ultimate effect of any structure adding volume, definition and new perception to the same.

33

References Abercrombie, S. (n.d.). A Philosophy of Interior Design. Harper and Row, 1990.

New York Ching., F. D. (n.d.). Architecture: Form, Space, and Order, 3rd Edition . New York, NY: John Wiley & Sons, Inc., 2007.

Feldman, E. D. (n.d.). Varieties of Visual Experience. Harry Abrams, Inc. New York.

Frampton, K. (n.d.). Modern Architecture, 4th ed. Thames and Hudson, 2007. New York.

Grillo. (n.d.). Form, Function, and Design. Dover, 1975,New York.

Harwood, B. B. (n.d.). Architecture and Interior Design from the 19th Century, Volume II. Prentice Hall, 2009.Upper Saddle River, NJ. Itten, J. (n.d.). Design and Form. Litton Educational Publishing, Inc., 1975. New York.

Lauer, D. a. (n.d.). Design Basics. Cengage Learning, 2012, Florence, KY Maier, M. (n.d.). Basic Principles of Design. Van Nostrand Reinhold, 1977,New York Pile, J. F. (n.d.). Design: Purpose, Form and Meaning. W. W. Norton & Company, 1979. New York Pile, J. F. (n.d.). Interior Design, 4th ed.

Pile, J. (n.d.). The History of Interior Design. John Wiley & Sons, 2009, Hoboken, NJ. Rasmussen, S. (n.d.). Experiencing Architecture. London, England: Chapman & Hall Ltd, 1959.

Richardson, J. A. (n.d.). Basic Design: Systems, Elements, Applications. NJ: Prentice Hall, 1984, Englewood Cliffs RosemaRy KilmeR and D W. otie KilmeR. (n.d.). Designing interiors Second Edition. John Wiley & Sons, Inc., Hoboken, New Jersey. Published simultaneously in Canada.

34

Sausmarez, D. (n.d.). Maurice. Basic Design: The Dynamics of Visual form. A&C Black Publishing, 2007,London.

Wong, L. (n.d.). Principles of Two-Dimensional Design. Van Nostrand Reinhold, 1972,New York.

Young, F. (n.d.). Visual Studies: A Foundation for Artists and Designers. NJ: Prentice Hall, 1985. Englewood Cliffs Zelanski, P. a. (n.d.). Design: Principles and Problems. Cengage Learning, 1996.Florence, KY.

35

7. Bibliography Abercrombie, S. (n.d.). A Philosophy of Interior Design. Harper and Row, 1990.

New York Ambercrombie, S. (n.d.). A Philosophy of Interior Design. Harper & Row, 1990, New York Ching., F. D. (n.d.). Architecture: Form, Space, and Order, 3rd Edition . New York, NY: John Wiley & Sons, Inc., 2007.

Feldman, E. D. (n.d.). Varieties of Visual Experience. Harry Abrams, Inc. New York. .

Frampton, K. (n.d.). Modern Architecture, 4th ed. Thames and Hudson, 2007. New York.

Grillo. (n.d.). Form, Function, and Design. Dover, 1975,New York.

Harwood, B. B. (n.d.). Architecture and Interior Design from the 19th Century, Volume II. Prentice Hall, 2009.Upper Saddle River, NJ. Itten, J. (n.d.). Design and Form. Litton Educational Publishing, Inc., 1975. New York.

Lauer, D. a. (n.d.). Design Basics. Cengage Learning, 2012, Florence, KY Maier, M. (n.d.). Basic Principles of Design. Van Nostrand Reinhold, 1977,New York Pile, J. F. (n.d.). Design: Purpose, Form and Meaning. W. W. Norton & Company, 1979. New York Pile, J. F. (n.d.). Interior Design, 4th ed.

Pile, J. (n.d.). The History of Interior Design. John Wiley & Sons, 2009, Hoboken, NJ. Rasmussen, S. (n.d.). Experiencing Architecture. London, England: Chapman & Hall Ltd, 1959.

Richardson, J. A. (n.d.). Basic Design: Systems, Elements, Applications. NJ: Prentice Hall, 1984, Englewood Cliffs

36

RosemaRy KilmeR and D W. otie KilmeR. (n.d.). Designing interiors Second Edition. John Wiley & Sons, Inc., Hoboken, New Jersey. Published simultaneously in Canada.

Sausmarez, D. (n.d.). Maurice. Basic Design: The Dynamics of Visual form. A&C Black Publishing, 2007,London Wong, L. (n.d.). Principles of Two-Dimensional Design. Van Nostrand Reinhold, 1972,New York.

Young, F. (n.d.). Visual Studies: A Foundation for Artists and Designers. NJ: Prentice Hall, 1985. Englewood Cliffs Zelanski, P. a. (n.d.). Design: Principles and Problems. Cengage Learning, 1996.Florence, KY.

37

Appendices I.

Interview Questionnaire at National Lottery Board Underline the following

1.

Do you feelings of stability in this space? a) Yes b) No c) Don’t know

2.

Feelings of grounding? a) Yes b) No c) Don’t know

3.

Seen this panels does give a direction? a) Yes b) No c) Don’t know

4.

Do you feel peace and relaxation in this interior space? a) Yes b) No c) Don’t know

38

II.

Interview Questionnaire Zenith Dentistry Underline the following

1. a) b) c)

Do you see balance in this space?

Yes No Don’t know

2. a) b) c)

do you see any stability?

Yes No Don’t know

3. a) b) c)

Seen this panels does give a feeling of height?

Yes No Don’t know

4. a) b) c)

Do you feel formality seen this panels?

Yes No Don’t know

39

40