ELEMENTS OF INTERIOR DESIGN
JINAL CHAUHAN 2nd YEAR- 4th SEMESTER B.DESIGN- ID - INSD
INDEX 1- UPHOLSTERED CHAIR 2- UPHOLSTERED POUFFE 3- UPHOLSTERED SOFA 4- UPHOLSTERED HEADBOARD 5- UPHOLSTERED CASINO TABLE / CARD TABLE
2"
1'-2"
2"
2"
WOODEN BLOCK MOULDING PATTI
10"
WOODEN BLOCK
6mm THK PLY
1 4"
2" THICK HIGH DENSITY FOAM 1" THICK U FOAM
6mm THK PLY 1 4"
6" 3'
MOULDING PATTI
2" THICK HIGH DENSITY FOAM
FINSHED FABRIC
3" 2"
1" THICK U FOAM
1" THICK U FOAM
2" THICK HIGH DENSITY FOAM 1 4"
1'-2"
9"
THK BASE WEBBING
THICK BASE WEBBING
SC- 1:4 BY WEBBING (BACKREST)
2" 2"
ELEVATION 2"
1'-6" 1'-2"
SIDE SECTIONAL ELEVATION WOODEN BLOCK
2"
GROOVING
2" 2"
1 4"
1'-10" 1'-6"
MOULDING PATTI
FINISHED FARIC
6mm THK PLY
1" THICK U FOAM
2" THICK HIGH DENSITY FOAM 1" THICK U FOAM
2" THICK HIGH DENSITY FOAM 1 4"
THICK BASE WEBBING
SC- 1:4
WOOD (OAK)
PLAN
BY GROOVING (BACKREST)
SECTIONAL PLAN SIGNATURE
DETAILING OF UPHOLSETRY- CHAIR
ALL MEASUREMENTS ARE IN FEETS & INCHES DATE- 10/02/2020
JINAL CHAUHAN
SCALE- 1:8
SUBJECT- UPHOLSETRY
SHEET NO- 1
2nd YEAR (4th SEMESTER) - INSD
1'-6" 2"
1'-2"
2"
FINSHED FABRIC
3"
1" THICK U FOAM
2"
2" THICK HIGH DENSITY FOAM 1 4"
1'-6"
THICK BASE WEBBING
9"
2" 2"
ELEVATION
SECTIONAL ELEVATION
1'-6" FINISHED FARIC 1" THICK U FOAM
1'-6"
2" THICK HIGH DENSITY FOAM 1 4"
THICK BASE WEBBING WOOD (OAK)
PLAN
SECTIONAL PLAN
SIGNATURE
DETAILING OF UPHOLSETRY- POUFFE
ALL MEASUREMENTS ARE IN FEETS & INCHES DATE- 10/02/2020
JINAL CHAUHAN
SCALE- 1:8
SUBJECT- UPHOLSETRY
SHEET NO- 2
2nd YEAR (4th SEMESTER) - INSD
1'-4"
LOOSE CUSHION OF SILK TAPESTRY
3" 421"
1 16"
LINING CLOTH
3 4"
FOAM 1" COTTON PADDING
621"
1 4"
JUTE CLOTH 2" COIR FILLING 1 4"
3"
JUTE CLOTH
6" SPRING 1 2"
ELEVATION
SIDE ELEVATION
PLY
3" SKIRTING
SC- 1:8
5' 4'
6"
2'-6" 6"
6" LOOSE CUSHION OF SILK
3"
TAPESTRY 1 16"
2'9"
3 4"
FOAM
1.6" COTTON PADDING 1 4"
1'-9"
LINING CLOTH
JUTE CLOTH
COIR FILLING 1 4" JUTE CLOTH
6" SPRING 1 2"
2'
PLAN
2'
SIDE ELEVATION
PLY
3" SKIRTING
SC- 1:8 SIGNATURE
DETAILING OF UPHOLSETRY- SOFA
ALL MEASUREMENTS ARE IN FEETS & INCHES DATE- 10/02/2020
JINAL CHAUHAN
SCALE- 1:10
SUBJECT- UPHOLSETRY
SHEET NO- 3
2nd YEAR (4th SEMESTER) - INSD
3"
HEADBOARD SECTIONAL ELEVATION SC- 1:8
2"
1'-4" 3'
1
1'-9" 1'-4"
3" 3" 10"
4"POLYESTER
FOAM FILING
1
2"
THICK-U FOAM
1
8"
FINISHING FABRIC
1
2"
THICK PLYWOOD
2"X 2" WOODEN BLOCK
2"
3"
SIDE ELEVATION
ELEVATION
REBATE BLOWUP 1" 2
0"
3" 1 2"
LED STRIP
3" 1" 1 2"
2"
THICK PLYWOOD
SC- 1:8
HEADBOARD SECTIONAL PLAN
6'
SC- 1:2
5' 3" 1"
1
4"POLYESTER
FOAM FILING
1
2"
THICK-U FOAM
1
8"
FINISHING FABRIC 1
5'
2"
THICK PLYWOOD
PLAN SIGNATURE
DETAILING OF UPHOLSTERY HEADBOARD
ALL MEASUREMENTS ARE IN FEETS & INCHES DATE- 23/04/2020
JINAL CHAUHAN
SCALE- 1:16
SUBJECT- UPHOLSETRY
SHEET NO- 4
2nd YEAR (4th SEMESTER) - INSD
BLOWUP DETAIL 1" 2"
1
8"
1
4"THICK
3
FELT
8"
FOAM
PLYWOOD 1
3" 2'6" 2'-5"
SC- 1: 2
2"
THICK WOODEN PLANK
1"
2'-3"
6"
1 2"
SIDE ELEVATION
ELEVATION 5' 3" 3"
3'-8"
2"
3" 3"
2"
3" 3" 2"
3'
1'-8"
2" 3" 3"
PLAN SIGNATURE
DETAILING OF - CASINO TABLE
ALL MEASUREMENTS ARE IN FEETS & INCHES DATE- 23/04/2020
JINAL CHAUHAN
SCALE- 1:10
SUBJECT- UPHOLSETRY
SHEET NO- 5
2nd YEAR (4th SEMESTER) - INSD
GRILL DESIGN
JINAL CHAUHAN 2nd YEAR- 4tH SEMESTER B.DESIGN-ID (INSD)
INDEX 1- WINDOW GRILL DESIGN 2- MAIN DOOR GRILL DESIGN 3- BALCONY RAILING DESIGN 4- MAIN GATE DESIGN 5- STAIN GLASS DESIGN
6' 4" 4"
4"
4"
4"
4"
4"
4"
SPECIFICATIONS
4"
4"
4"
4"
4"
4"
4"
4"
2"
MATERIALMILD STEEL METAL
7"
1" 92 TYPE-
2"
FLAT
43 8"
5" THICKNESS-
43 8"
1
4' 7"
WIDTH3 4"
1'
43 8"
5"
43 8"
4"
FITTING TYPEINSIDE THE WINDOW FRAME
1" 92
7" 2"
FRONT ELEVATION SIGNATURE
WINDOW GRILL DESIGN
ALL MEASUREMENTS ARE IN FEETS & INCHES DATE- 16/06/2020
JINAL CHAUHAN
SCALE- 1:8
SUBJECT- GRILL DESIGN
SHEET NO- 1
2nd YEAR (4th SEMESTER) - INSD
3' 1'-5"
SPECIFICATIONS
83 4"
MATERIALSTAINLESS STEEL 1" METAL FINISH
1" 82
2 1" 18
1" 22
1" 18 1" 44
2 58" 7' 5'-9"
1" 18
1" 18
15 8"
15 8"
1" 44
25 8"
THICKNESS1 2"- OUTER FRAME 1
1" 18
1" 38
13 8"
1" 2
4"-
INSIDE FRAME
WIDTH1 2" FITTING TYPEINSIDE WOODEN DOOR- FRAME
SC- 1:2
FRONT ELEVATION SIGNATURE
WOODEN DOOR GRILL DESIGN
15 8"
TYPESQUARE
ALL MEASUREMENTS ARE IN FEETS & INCHES DATE- 16/06/2020
JINAL CHAUHAN
SCALE- 1:1O
SUBJECT- GRILL DESIGN
SHEET NO- 2
2nd YEAR (4th SEMESTER) - INSD
SPECIFICATIONS 9' 1" 1" 18
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 37 8" 38" 38" 38" 38" 38" 38" 38" 38" 38" 38" 38" 38" 38" 38" 38" 38" 38" 38" 38" 38" 38" 38" 38"
MATERIALSTAINLESS STEEL
1" 7"
TYPECIRCULAR
2'-3" 1'-117 8"
1'2"
THICKNESS1 2" 6" 1" 18
WIDTH1 2"
FRONT ELEVATION
FITTING TYPEBALCONY WALL
13 4" R2" 1 R12" 4"
13 4"
2"
37 8" 1" 2
1" 74
11"
37 8"
4" R2" 13 4"
1" R12 25 8"
5" 1" 5" 8 2 8
25 8"
13 4"
SIGNATURE
BALCONY GRILL DESIGN
BLOWUP DETAIL SCALE- 1:4 ALL MEASUREMENTS ARE IN FEETS & INCHES DATE- 16/06/2020
JINAL CHAUHAN
SCALE- 1:10
SUBJECT- GRILL DESIGN
SHEET NO- 3
2nd YEAR (4th SEMESTER) - INSD
SPECIFICATIONS
WOODEN PLANKS METAL NET GRILL
R37 8" 1'-15 8"
R27 8" 57 8"
MATERIALWROUGHT IRON
10'-4" 1" 11'-118 11'-05 8" 1'-33 4"
1" 62
43 8"
75 8"
3 R10'-13 4" R10'-04" 3 R8'-114" R9'-03 4"
1'-2"
TYPESQUARE ROD
4" 4"
THICKNESS1"
4" 2'-2"
4" 4" 4"
8'
WIDTH1"
4" 1'-2"
4" 4"
7'-10"
4"
FITTING TYPEDIRECTLY AT MAIN ENTRY
4" 2'-2"
4" 4" 4" 8"
1'-2"
1" 51" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 34 2
1'-15 8"
1" 1'-15 8"
1" 31" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 52 4
SIGNATURE
MAIN GATE- WOODEN GRILL DESIGN
ALL MEASUREMENTS ARE IN FEETS & INCHES DATE- 16/06/2020
JINAL CHAUHAN
SCALE- 1:20
SUBJECT- GRILL DESIGN
SHEET NO- 4
2nd YEAR (4th SEMESTER) - INSD
2' 10"
2"
10"
R1'-113 8"
1'3"
1" 1'-02
1" 114 1' 1'-87 8" 1" 1'-72
R1'-113 8"
1'-35 8"
4' 1'6"
R53 8"
R113 8"
R1'-53 8" 1" 1'-34
1" 1'-68
1'-5"
1'3"
2"
R1'-53 8"
6"
3"
23 4"
1" 48
1" 1'-98 R1'-113 8"
SIGNATURE
STAINED GLASS DESIGN
ALL MEASUREMENTS ARE IN FEETS & INCHES DATE- 27/05/2020
JINAL CHAUHAN
SCALE- 1:8
SUBJECT- DESIGN
SHEET NO- 1
2nd YEAR (4th SEMESTER) - INSD
HISTORY OF CURTAINS
JINAL CHAUHAN 2nd YEAR- 4th SEMESTER B.DESIGN ID - INSD
INDEX
1- HISTORY OF CURTAINS 2- 1940’s STYLE 3- DIRECTORIE STYLE 4- VICTORIAN STYLE 5- REPORT ON TYPES OF CURTAIN 6- CURTAIN ACCESSORIES 7- MEASUREMENTS OF CURTAIN FABRIC
HISTORY OF CURTAINS AND DRAPERIES.
JINAL CHAUHAN 2nd YEAR – INSD
NEOCLASSICAL Place : England Era : 18th century
Thomas Chippendale & Thomas Sheraton were a feature of the period
FEATURES/STYLE Thomas Chippendale
Thomas Sheraton
CURTAINS •
Simple, Straight curtains were still widely used, often tacked straight onto the window frame.
•
The new fuller pull-ups were also popular, especially when topped with a pelmet cornice.
•
Carved wooden cornices.
•
Muslin sub curtains were installed to protect furnishings from strong sunlight
•
Screens similar to sashes were sometimes fitted to the bottom half of the window and painted green to give privacy.
•
Reefed curtains, which pulled up and apart by means of diagonally strung cords, while the heading remained fixed, were fashionable.
Thomas Chippendale
Thomas Sheraton
DRAPERY • Window pelmets were frequently castellated and combined with Italian-style curtains and under-curtains. • Swags were shallow and regular, when they were used at all. Curtain ornaments were wide and varied, including wreaths, tassels, bows, and feathers. • During the Revolutionary period in France, symmetry began to be abandoned, but well-balanced and not opulent. • They were laid over the curtains and attached to the cornice
Thomas Chippendale
Thomas Sheraton
BEDS AND BED HANGINGS •
With the vogue for chinoiserie, windows and beds were frequently hung en suite with Chinese silk or embroidered fabrics featuring Oriental motifs.
•
Velvet hangings with gold fringings were still popular, and, in America, some of the most beautiful beds were adorned with crewel work. Scalloped bed valances were fashionable, and some bed curtains pulled up on a cord-and-ring system to give a double festoon.
•
Thomas Chippendale
The bedheads were formed like the back of a chair and the full tester was attached to the wall, with the drapery falling in swags and tails to the floor. The centre of the tester was dressed with plumes and the frame swagged. Thomas Sheraton
TEXTILE - MATERIALS •
Classical themes including acanthus, lozenges, medallions, festoons and vases.
•
The first toile, Printed in single colours on an off-white ground, the toiles featured finely etched Neoclassical motifs.
•
British craftsmen at Spitalfields copied the patterns of the expensive imported Kashmiri shawls
•
Motifs such as bouquets, ribbons, wreaths, garlands or birds were used on fabrics, and Oriental fabrics remained popular. Embroidered textiles were still much in use, and a wood-andgoathair mix called camlet was highly sought after in England.
•
Loose covers in cotton or linen were widely used to protect furniture upholstered in expensive fabrics.
HISTORY OF CURTAINS AND DRAPERIES
JINAL CHAUHAN 2nd YEAR – INSD
ERA – 1940’s • The strong modernist movement of the 1920s rejected any decorative elements, streamlining interior space and construction. Yet a decade later, traditionalism jumped into center stage – bringing all its artistry and embellishment with it.
• These two opposing historical roots defined the 1940s as a period of contradiction: stepping forward while looking back. French designers would be the last group to leave their traditional heritage, while Scandinavians would be the first to bring humanism into massproduced pieces.
CURTAINS •
Curtains were generally hung from poles, and swags and tails were used liberally.
•
Decorative finials on the poles were an important part of the treatment. Everything was fringed, braided and bobbled.
•
The light was sometimes kept out altogether by the use of blinds.
•
Blinds were sometimes painted, bordered or self-patterned and trimmed with fringes or borders.
•
Carefully pleated curtain headings were still not common by the end of the century.
•
Goblet pleats were cup-shaped and padded.
DRAPERIES •
Draped pelmets or valances would have been used where a flat lambrequin or pelmet would have been too severe.
•
Swags and tails were used on many bay windows of the period as they covered many awkward corners.
•
Scarf drapery, where one piece of fabric is draped to make a heading for a treatment
•
By mid-century, stamped brass or richly gilded pelmet cornices were often placed on top of the fabric pelmets.
•
Muslin curtains were still used to exclude insects and soften the light.
•
White curtains were in vogue, and white cotton dimity was used extensively for bed curtains and counterpanes.
BED AND BED HANGINGS
•
Health and hygiene became one of the major concerns in the latter part of the 19th century, and heavy bed drapery came to be seen as unhealthy.
•
Simplicity was the key to Arts and Crafts beds, with the emphasis on the quality of fabric design.
•
Plain cornice boxes in wood, painted or covered with a simple stiffened pelmet, were used with paired curtains.
•
Sometimes the cornice boxes were omitted to show the curtains on their track.
•
Four-poster beds with plain curtains and a straight valance were a popular choice.
MATERIALS • The Near East was also a major influence, with “Turkish corners” furnished with Near Eastern textiles such as ottoman velvets, prayer rugs and Turkish rugs covering cushions, window seats and divans. • In France, tulle muslin and dentelle were used for romanticstyle curtains and bed draperies. Silk and damask decorated with flowers and exotic foliage were popular; the large flower designs dictated the way the fabrics were used.
HISTORY OF CURTAINS AND DRAPERIES.
JINAL CHAUHAN 2nd YEAR – INSD
DIRECTOIRE STYLE Place : France Era : 1795-99
• In Interior design painted wallpaper replaced rich tapestries. Also, upholstery and cretonne curtains took the place of brocades and damasks. • Simple curtain poles, often arrow shaped, not heavy cornices • Furniture coverings and curtains of cretonne with classic designs in place of brocades and damasks, or magnificent textiles
REGENCY & EMPIRE STYLE Place : France Era : 19th century
CURTAINS • A slimmer, draped look using pairs of curtains replaced the pull-up curtain which proved too bulky for the taller. • Rods or poles were usually highly decorative, with ornaments such as laurel wreaths and rosettes. • The main curtains were usually floor-length or trailing on the floor, and were caught back by cords or cloak pins during the day to keep them out of the way. • They were generally fixed to one side of the window, but were sometimes drawn to protect the interiors from sunlight. • These included roller blinds, slatted blinds, chintz blinds and updated forms of sashes. • External blinds were coming into fashion, made either from canvas or were frame-andlath blinds with slats. • Walls were elaborately draped and curtains were thick and heavy with elaborate trimmings.
DRAPERY • By the 1820s, continuous drapery had been introduced to link two or more windows on one wall and the decoration of the pole became an even more important feature. • This could be moulded, painted or gilded. • These curtains were caught back on rosettes or cloakpins during the day, and were often lined in contrasting fabric. • Continuous drapery was sometimes used in conjunction with ceiling drapery for a tented effect. • Walls were elaborately draped and curtains were thick and heavy with elaborate trimmings. • In Biedermeier interiors, window treatments were kept simple to allow in as much light as possible. • One popular treatment was the use of asymmetrically draped sheers trimmed with tassels and fringes.
BEDS AND BED HANGINGS •
Bed drapery was much simpler than in earlier periods. Typical of the period was the French Empire method of placing the bed along the wall with a centrally mounted canopy supporting curtains or draperies that trailed over the curved ends of the bed.
•
The lit bateau was typical of Empire beds. It often had swan’s head scroll ends. Even cradles were elaborately draped.
•
Egyptian, Gothic revival and chinoiserie styles all influenced bed treatments at this time. Drapes could still be luxurious and were usually covered and lined with contrasting or toning fabric. The rear bed curtain was frequently arranged in a sunburst pattern, with the ceiling of the canopy executed in the same way.
FABRICS-MATERIAL •
The highly improved dyeing and printing techniques of the early 19th century resulted in more realistic colors for floral representations, as well as in vastly reduced prices as textiles were produced in bulk.
•
This resulted in the decline of Britain’s silk industry. Elaborate brocaded silks were no longer fashionable, although other silks were still popular, as were tulle, lustrous taffeta, velvets, damasks, satin, printed linen, sprigged muslin and printed cotton chintz.
•
Pattern and texture were important, as was merino wool, Manchester velvets machinepressed watered fabrics, geometric and architectural designs, trellis patterns, columns and stripes.
•
Motifs on fabrics were popular, especially in France, and featured Napoleonic bees, swans, laurel wreaths, crowns, lyres, vases, eagles, and oak leaves.
HISTORY OF CURTAINS AND DRAPERIES
JINAL CHAUHAN 2nd year- INSD
VICTORIAN PERIOD PLACE-UNITED KINGDOM ERA- 1837 -1901
CURTAINS •
Window treatments and fabrics underwent a shift from the severe and harsh styles of previous eras to the flamboyant and over-thetop styles of the Victorian Era.
•
Cotton lace ,the typical first layer of an upperclass Victorian window treatment.
•
Hung as stationary panels, the lace gathered along a single rod inside the window frame.
•
A more intricate treatment, the “Austrian Shade,” used lace gathered both horizontally and vertically, raising and lowering controlled through cords and attached rings.
•
You can still find Austrian shade as an underlayer or stand-alone window treatment used today for a romantic design scheme.
DRAPERIES
•
With the availability of factoryproduced lace came the increased obtainability of British-woven brocades and velvets.
•
The upper-classes used the opulence of these fabrics in their window coverings as a showcase for their status and indicator of their wealth.
•
Layered treatments started with the lace curtain, followed by functioning over-drapes, stationary side panels, and topped with swags and jabots.
•
While multiple layers spoke of the owner’s wealth, they also served to conserve heat in the winter and repel heat in the summer.
SHUTTERS •
Windows in the kitchen, servant's quarters and bedrooms would not be covered in the layers that public rooms in grand homes received.
•
Even with the reduced cost of massproduced fabric, layered fabric window coverings were out of the reach of the working classes.
•
Their window treatments were typically shutters, either louvered or solid board and batten, which opened and laid flat against the outside of the building during the day.
•
If the budget permitted, lace curtains hung on the inside of the room helped keep bugs and prying eyes at bay in the side-by-side tenements of the Victorian city
COLOR SCHEME •
Victorian homes did not have central heating; coal was the preferred fuel for heating homes in cities, wood in the rural areas.
•
The smoke and soot from these heat sources permeated clothing, furniture and window coverings.
•
Except for lace under-curtains, which could be taken down for cleaning, fabric and trims used in window treatments were typically dark colored; navy blue, dark brown, burgundy and green. Purple was a rare and expensive color and not readily available.
•
Artificial purple colorant did not come into use until after its invention in 1856, halfway through the Victorian Era, but it quickly gained massive popularity.
15.0
10.0
76.0
52.0
15.0
15.0 10.0
76.0
10.0
15.0
52.0
76.0
52.0
120.0 1.5 15.0 BELOW SILL LEVEL (15CM BELOW SILL)
48.5
7.5
STILL LENGTH (1.5CM BELOW SILL)
FLOOR LENGTH (1.5CM ABOVE FLOOR)
BASIC SIMPLE CURTAIN FABRIC REQUIRED FOR WINDOW 72x48 - 48" x 48" PANNA FOR OTHER STYLE, THE CALCULATION DEPENDS UPON CURTAIN PLEATS
SIGNATURE
MEASUREMENTS OF CURTAIN FABRIC
ALL MEASUREMENTS ARE IN CMS ( WINDOW SIZE- 72x48) DATE- 15/06/2020
JINAL CHAUHAN
SCALE- 1:20
SUBJECT- ELEMENTS OF ID
SHEET NO - 1
2nd YEAR (4th SEMESTER) - INSD
