Elements Of Interior Design Portfolio

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S a t y e n d r a g a d g i l

i n t e r i r o r

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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

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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

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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"

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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

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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

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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

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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

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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