Architecture and Interior Design
Although structural integrity, cost, the nature of building materials, and the functional utility of the building contribute heavily to the design process, architects can still apply aesthetic considerations to buildings and related architectural structures. Common aesthetic design principles include ornamentation, edge delineation, texture, flow, solemnity, symmetry, color, granularity, the interaction of sunlight and shadows, transcendence, and harmony.
Interior designers, being less constrained by structural concerns, have a wider variety of applications to appeal to aesthetics. They may employ color, color harmony, wallpaper, ornamentation, furnishings, fabrics, textures, lighting, various floor treatments, as well as adhere to aesthetic concepts such as feng shui.
Read more about this topic: Applied Aesthetics
Famous quotes containing the words interior design, architecture and, architecture, interior and/or design:
“Interior design is a travesty of the architectural process and a frightening condemnation of the credulity, helplessness and gullibility of the most formidable consumers—the rich.”
—Stephen Bayley (b. 1951)
“The two elements the traveler first captures in the big city are extrahuman architecture and furious rhythm. Geometry and anguish. At first glance, the rhythm may be confused with gaiety, but when you look more closely at the mechanism of social life and the painful slavery of both men and machines, you see that it is nothing but a kind of typical, empty anguish that makes even crime and gangs forgivable means of escape.”
—Federico García Lorca (1898–1936)
“No architecture is so haughty as that which is simple.”
—John Ruskin (1819–1900)
“An absolute can only be given in an intuition, while all the rest has to do with analysis. We call intuition here the sympathy by which one is transported into the interior of an object in order to coincide with what there is unique and consequently inexpressible in it. Analysis, on the contrary, is the operation which reduces the object to elements already known.”
—Henri Bergson (1859–1941)
“With wonderful art he grinds into paint for his picture all his moods and experiences, so that all his forces may be brought to the encounter. Apparently writing without a particular design or responsibility, setting down his soliloquies from time to time, taking advantage of all his humors, when at length the hour comes to declare himself, he puts down in plain English, without quotation marks, what he, Thomas Carlyle, is ready to defend in the face of the world.”
—Henry David Thoreau (1817–1862)