b s c
S a t y e n d r a g a d g i l
i n t e r i r o r
d e s i g n s e m 4
• • • • •
Upholstery Furniture Detail Chair..................................07 Pouffee…………..……………09 Sofa………………………......11 Headboard……………………13 Casino Table………………….15
• • • •
Grill Design Window ……………………..19 Main Door…………………….21 Main Gate…………………….23 Stain Glass Design……………25
Reports • History Of Curtains…………… • History Of Types of Curtains • Types of Fitting of Curtains
U P H O L ST E R Y F U R N I T U R E D ETA I L
U P H O L ST E R E D
C H A I R
2" 3 14"
FINISHING FABRIC
2" THK DENSITY FOAM 3 / 4" THK PLY FINISHING FABRIC
2" REBATE
3' 3"
1" THICK U FOAM 2" THICK HIGH DENSITY FOAM
1"
1 4" 1 2" 1 4"
THICK BASE WEBBING
FRONT ELEVATION
SIDE SECTIONAL ELEVATION
FINISHING FABRIC
2"
SCALE 1:8
1" THK U FOAM
1'-6" 2"
1 4"
2" THK DENSITY FOAM
2"
3 / 4" THK PLY FINISHING FABRIC
1" WOODEN BLOCK
1'-10"
1" THICK U FOAM 2" THICK HIGH DENSITY FOAM
1 4"
THICK BASE WEBBING
2"
1 4"
1"
1'-3"
2"
1 4"
1"
SCALE 1:8
2"
1" THK U FOAM
1"
1 4"
FINISHING FABRIC
SCALE: 1:2
2" THK DENSITY FOAM 3 / 4" WEBBING
DESIGNED BY SATYENDRA GADGIL
UPHOLSTREY FURNITURE DETAIL : CHAIR SY.BSC INTERIOR DESIGN SIGN DATE: 11.02.2020
SCALE 1:8
1" THK U FOAM
1" WOODEN BLOCK
international school of design
1 4"
U P H O L ST E R E D
P O U F F E E
ELEVATION
2"
SECTIONAL ELEVATION
SIDE SECTIONAL ELEVATION 1" THICK U FOAM FINISHING FABRIC 3 4" WEBBING 2" THICK DENSITY 1'-8" FOAM 2"
2" 1"
2" THICK WOOD
11"
1'-6"
1'-6"
1'-2"
PLAN
2"
SECTIONAL PLAN
1"
1"
1"
SECTIONAL PLAN DETAIL
FINISHING FABRIC 1" THICK U FOAM
1'-6"
2" THICK HIGH DENSITY FOAM
1'-8"
3 2"
UPHOLSTREY FURNITURE DETAIL : POUFFE CHAIR SY.BSC INTERIOR DESIGN SIGN DATE: 18.02.2020
2"
DESIGNED BY SATYENDRA GADGIL
international school of design
4"
WEBBING
UPHOLSTERED SOFA
SIDE SECTIONAL ELEVATION DETAIL 1 8" 1 1 4" 2"
FINISHING FABRIC 1
4"
U FOAM 1
1 2"1 4" 1 8"
COTTON PADDING
THICK FOAM
1 8" 1 4" 1 2"
1 4"
4" SPRING
2" THICK WOODEN FRAME
1/2" PLYWOOD
2'-6"
PLAN
5"
SIDE ELEVATION
1 2" 1 4" 1 8"
SCALE 1:4
2' 3"
1'
2'
6"
2'-8"
1"
FRONT ELEVATION
2"
1'-6"
SECTIONAL PLAN DETAIL
1
6"
2'
2'
6"
8"
FINISHING FABRIC
1
4"
U FOAM
1
2"
THICK PLYWOOD
SCALE 1:2
1 2"
COTTON PADDING
DESIGNED BY SATYENDRA GADGIL
UPHOLSTREY FURNITURE DETAIL : SOFA SY.BSC INTERIOR DESIGN SIGN DATE: 18.02.2020
4" SPRING
international school of design
SCALE 1:3
5'
U P H O L ST E R E D
H E A D B O A R D
SIDE SECTIONAL ELEVATION
1 2"
3" 1 2"
SCALE 1:5
3'
1 2" 1"
1 4" 1 2" 1 4"
3"
1 2"
LED STRIP FOR BACKLIGHTING
1 2"
1'-4"
1 2"
REBATE BLOWUP
1 2"
SCALE 1:10
FRONT ELEVATION
3"
FINISHING FABRIC
2"
1'-4"
1'-9"
1'-6"
2"
2" THICK U-FOAM 1 2"
THICK U-FOAM
1 2"
THICK PLYWOOD
3"
SIDE ELEVATION
SECTIONAL PLAN DETAIL
6"
6'
PLAN
6" THK BRICK WALL
1 2"
1 8"
1 4"
5'
SCALE 1:2
1 2"
THICK PLYWOOD 1 4" POLYESTER FOAM FILING
THICK U-FOAM
FINISHING FABRIC
DESIGNED BY SATYENDRA GADGIL
UPHOLSTERY FURNITURE DETAIL : BED HEADBOARD SY.BSC INTERIOR DESIGN SIGN DATE: 03.03.2020
1 2"
international school of design
SCALE 1:4
1 2"
3"
1 2"
5'
U P H O L ST E R E D
C A R D
TA B L E
SECTIONAL ELEVATION BLOWUP-A 1
ELEVATION
SIDE ELEVATION
1
4"
3
8"
THK U-FOAM THK PLYWOOD
3"
1 2"
6"
1"
2" 6"
FELT CLOTH FINISH
3 1 8" 4"
1"
A
8"
2'-6"
1 2" 1 1 2"
PLAN
2"
2"
WOODEN FRAME
THK WOODEN PLANK
SECTIONAL PLAN 1
2"
THK X 3" WOODEN FRAME AROUND TABLE
1
3'
3'-6"
8" FELT CLOTH FINISH 1
4" THK U-FOAM
3
THK PLYWOOD
2"
8"
1 2"
2"
5'
THK WOODEN PLANK
4'
3"
2"
2" X 2" WOODEN FRAME
DESIGNED BY SATYENDRA GADGIL
UPHOLSTREY FURNITURE DETAIL : CASINO TABLE SY.BSC INTERIOR DESIGN SIGN DATE: 23.04.2020
international school of design
3"
Grill design
W I N D O W
G R I L L
D E S I G N
FRONT ELEVATION EQ
3"
3"
3"
3"
4'
SPECIFICATIONS
3"
3"
1
3 2"
1
3 2"
EQ
1
3 2"
7"
1
3 2"
EQ
1
3 2"
7"
1
3 2"
EQ
1
3 2"
1
3 2"
1 4"
EQ
3"
EQ
3"
EQ
3 4"
6'
METAL : MILD STEEL TYPE: FLAT
FITTING TYPE: INSIDE
THICKNESS : 14"
WIDTH : 3 4"
DESIGNED BY SATYENDRA GADGIL
GRILL DESIGN : WINDOW
SY.BSC INTERIOR DESIGN SEM 4 DATE: 16.05.2020
REMARK
SIGN
international school of design
M A I N
D O O R
G R I L L
D E S I G N
3' 6"
4'
6"
2"
7'
2'-11"
2"
1 4"
6"
SPECIFICATIONS METAL : STAINLESS STEEL MATTE FINISH FITTING TYPE: IN WOODEN TYPE: SQUARE FRAME THICKNESS : 1/2" WIDTH : 1/2" DESIGNED BY SATYENDRA GADGIL
GRILL DESIGN : HOUSE DOOR
SY.BSC INTERIOR DESIGN SEM 4 DATE: 16.05.2020
REMARK
SIGN
international school of design
M A I N
G AT E
G R I L L
D E S I G N
FRONT ELEVATION
3" SQUARE ROD 6"
6"
6"
6"
2'-1/2"
6"
6"
6"
6"
6"
6"
STAINLESS STEEL SHEET MATTE FINISH
7'-11"
2'-3"
EQ
1'-1/2"
6"
2" SQUARE ROD
6"
2"
1'-1/2"
EQ
2'-3"
6"
10'-1/2"
1"
10'-1/2"
SPECIFICATIONS METAL : STAINLESS STEEL MATTE FINISH GATE TYPE: SQUARE ROD FITTING TYPE: STEEL HINGE THICKNESS : 2" ,3" WIDTH : 2" , 3"
DESIGNED BY SATYENDRA GADGIL
GRILL DESIGN : MAIN GATE
SY.BSC INTERIOR DESIGN SEM 4 DATE: 16.05.2020
REMARK
SIGN
international school of design
B A LC O NY
R A I L I N G G R I L L
D E S I G N
FRONT ELEVATION 6'
2" 3" 3"
3"
2"
3"
1"
3"
3"
3'
1'-9"
3"
3'
3'
3'
3'
SPECIFICATIONS METAL : STAINLESS STEEL
LEFT SIDE ELEVATION
RIGHT SIDE ELEVATION
TYPE: SQUARE
FITTING TYPE: ON WALL
THICKNESS : 1"
WIDTH : 1"
DESIGNED BY SATYENDRA GADGIL
GRILL DESIGN : BALCONY RAILING
SY.BSC INTERIOR DESIGN SEM 4 DATE: 16.05.2020
REMARK
SIGN
international school of design
W I N D O W
STA I N E D
G L A SS
64
7"
84 3 "
3 64"
"
3
3 44"
1'
3 44"
1'
64 3 "
1'
1'
10" 12 1 "
3 64"
3 24"
2"
3"
1
1141 "
2"
3
1 44"
1 " 44
3 64" 1 42"
1 " 64
3 54"
4"
1'
1'
1 34"
3 " 54
2" 1 " 14
3 54"
3 24"
3 74"
1 12"
5"
1 " 2
4'
1 32"
62 1 "
1 32"
1 " 64
64 1 "
1 24"
1 " 64
5"
1 " 22
1 " 34 9"
14 3 "
3 44"
3 " 34
22 1 " 44 3 "
24 3 "
3 54"
1"
1 " 14
3"
3 " 24
1
1 4"
3 4"
1 42"
2"
2'
2'
34 1 "
4"
1'- 1 04 "
1 1'-42 "
1 54"
3"
2"
" 9"
11
1 84"
1'
2'
1'
DESIGNED BY SATYENDRA GADGIL
STAINED GLASS DESIGN
SY.BSC INTERIOR DESIGN SEM 4 DATE: 27.05.2020
REMARK
SIGN
international school of design
HISTORY of CURTAINS NEOCLASSICISM
SATYENDRA GADGIL SY.BSC.INTERIOR DESIGN (SEM4)
NEOCLASSICISM Thomas Sheraton In the 1790s Thomas Sheraton created several unusual beds. One example was a curved-ended bed, set in an alcove, on a raised dais, the outline softened by swags with tasselled ends. The bed curtains fell from a central corona and were caught back on cloak pins at each end of the bed.
Thomas Sheraton
Sheraton’s Duchesse beds were lighter and more informal than their French counterparts, the lits a la duchesse. 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 Chippendale Thomas Chippendale (1718–1779) was born in Otley in the West Riding of Yorkshire, England in June 1718. He became a cabinet-maker in London, designing furniture in the midGeorgian, English Rococo, and Neoclassic al styles.
Thomas Chippendale From the middle of the 18th century, as the designing of beds passed from the domain of the upholsterer to the cabinet maker, the hangings became of secondary importance. One of the most important features was an elaborate cornice which was often repeated with the window curtains
HISTORY of CURTAINS DIRECTOIRE
SATYENDRA GADGIL SY.BSC.INTERIOR DESIGN (SEM4)
DIRECTOIRE STYLE Directoire French interiors are characterised by painted wallpaper instead of the tapestries of earlier French periods, furniture coverings and curtains of cretonne with classic designs in place of brocades and damasks, or magnificent textiles; simple curtain poles, often arrow shaped, not heavy cornices;
DIRECTOIRE STYLE
In interior design painted wallpaper replaced rich tapestries. Also, upholstery and cretonne curtains took the place of brocades and damasks.
VICTORIAN ERA
SATYENDRA GADGIL SYBSC. INTERIOR DESIGN SEM4
VICTORIAN style curtains Victorian interiors feature beautiful colors, lots of ornate details, and skilled fakery to make the home a welcoming and beautiful place. The industrial revolution led to a revolution in interior decorating, and for the Victorians, high style was all about the appearance of luxury, whether real or imitation.
Victorian interior design is a product of the Industrial Revolution, where machinery made it possible for the middle class to own highly ornate pieces. As the middle class became more affluent, they sought to only belonged to people of the upper demonstrate classes. These items included architectural features that common theirarenewfound in Victorian decorating, such as tin ceiling wealth panels, with wall sconces and tapestries. items that had
Curtains were the preferred window treatment in the Victorian era. Made of rich, heavy fabrics, curtains were pleated and hung over gilded curtain rods. To add further opulence, the curtains were lined with silk or wool to give them an even more luxurious appearance.
Although Victorian interiors have been associated with lavishness, the Victorians knew how to carefully spend their money to make the most of the decorative items they could afford. When applying this interior design style in your own home, carefully consider what items will make the largest impact in the room. Other, smaller items can be planner and of lesser quality and still
THANK YOU S AT Y E N D R A G A D G I L SYBSC. INTERIOR DESIGN SEM4
1940’s ERA Simple weaves such as gingham and other utility fabrics were characteristic of the 1940s. Another legacy of the war was the use of restricted colour schemes in fabric design. The majority of designs produced in Britain at this time used no more than two or three colours on a neutral grey, white or black background. Needlework patterns of the 16th and 17th centuries were popular sources for designs for woven and printed textiles.
Home design in the 1940s, especially in the kitchen, represented a rapid shift. Older styles and materials were quickly replaced. New ideas took hold, and the kitchen was transformed. Because of World War II restrictions, it would not be until the late 1940s and into the 1950s that many of these new materials found their way into home design. Chiefly, the rationing of metal adversely affected the production of steel kitchen cabinets.
The 1940′s interior design style is often referred to as ‘vintage’ and ‘nostalgic’. The overall look was easy on the eye and created a comfortable and family-orientated atmosphere.
Satyendra Gadgil SYBSC Interior Design (Sem4)
Curtain, in interior design, decorative fabric commonly hung to regulate the admission of light at windows and to prevent drafts from door or window openings. Curtains are often hung on the inside of a building's windows to block the passage of light, for instance at night to aid sleeping, or to stop light from escaping outside the building (stopping people outside from being able to see inside, often for privacy reasons).
Flat Drapery Pleat
Pinch Pleat
Cartridge Pleat
Grommet Pleat
French Pleat
Pencil Pleat
Triple Pleat
Box Pleat
Satyendra Gadgil SYBSC Interior Design (Sem 4)
Curtain Accessories
T y p e s O f Ro d s A curtain rod, curtain rail, curtain pole, or traverse rod is a device used to suspend curtains, usually above windows or along the edges of showers or bathtubs, though also wherever curtains might be used.
Rings Curtains use different types of curtain hooks depending on the type of curtain or and the type of rod on which it hangs. For example, pin hooks often are used to hang pinch pleated drapes but not on a standard type of rod. Knowing the design and purpose of each type of hook ensures you get the right hardware to hang your curtains hang properly.
Types of rings
Pin Hooks
A pin hook basically is a piece of folded metal wire. One side has a sharp prong or pin, and the other side has a curved hook. They resemble large fishing hooks and may have up to four prongs. All pin hooks work the same way. The prong side is inserted into the back of the curtain header at the base of the seam or pleat. The hooked side is inserted into the eyes of pole rings, glides running along a track, or into the holes of a stationary rod strip.
Types of rings
Clip Rings and Round Rings
Clip rings and round rings are designed to be seen and often add a refined look to curtains. A clip ring is attached to the plastic loop at the top of the curtain with a clip that is attached to the base of a ring. The ring itself slides over a curtain rod. A
Types of rings
Sew-On Hooks
Sew-on hooks look similar to pin hooks in that they have a hooked side, but instead of prongs that insert into the fabric tape, these have a prong with a rounded eye at the end of one side. This is sewn onto the back of the curtain header so the hook remains in a fixed position. The hooked side is inserted onto pole rings, glides or the holes of a stationary rod. Sew-on hooks typically are made from brass, and once they're sewn in, they're strong enough to hold most fabrics.
Types of rings
S-hooks
S-hooks look exactly how they sound, like an “S.” They’re often made of metal but you can find Shooks made of plastic or wood. They’re commonly used with shower curtains but work with any curtain that has a button hole at the top. One end of the hook is inserted into the button hole and the other end hooks over the curtain rod. S-hooks often are designed to be decorative because the hook is seen above the curtain, and they are available in a variety of colors and finishes.
Fittings & Fixtures
Tie Back
A curtain tie-back is a decorative window treatment which accompanies a cloth curtai n
Fittings & Fixtures
Hold Back
Curtain hold backs evolved alongside curtains as a way to keep the curtain clear of a bed, room division or window
Fittings & Fixtures
Curtain Tracks
Curtain tracks are made from white plastic or metal and sit close to the wall. Curtai ns are hung, using curtai n hooks, from 'gliders' which move smoothly along
