Pancyprian TS Interior Design III Θ.Κ. flashcards

34 cards. Read the term and the definition here. The deck at the top of this page is optional.

Elements of design

The basic visual components of an interior: space, form, line, colour, texture, light and pattern. They are combined using principles such as balance, rhythm and proportion to create a coherent scheme.

Asymmetrical balance

A composition balanced by unequal elements of differing visual weight rather than mirrored forms. It suits contemporary and irregular rooms and feels more relaxed and dynamic than symmetrical balance.

Rule of three

Repeating a colour, material or motif at least three times across a space to create visual unity. Two repetitions can look accidental; three or more read as a deliberate design decision.

Golden ratio

A proportion of approximately 1:1.618 used to size related elements such as wall panels or furniture groupings. It produces compositions perceived as naturally harmonious and is common in classical architecture.

Primary circulation

The main route through a space, ideally at least 1,200 mm wide for comfortable two-person passing. It should connect entrances to main rooms without crossing work zones such as the kitchen triangle.

Kitchen work triangle

The path linking sink, hob and refrigerator. Each leg should be 1.2–2.7 m and the total 4–8 m, with no through traffic crossing it, to minimise steps during food preparation.

Zoning

Dividing an open interior into functional areas using physical means (partitions, level changes), visual means (ceiling or floor changes, colour) or implied means (furniture arrangement, rugs, lighting).

Anthropometrics

The measurement of human body dimensions and reach ranges. Interior dimensions such as worktop height, seat height and clearance zones are derived from anthropometric data for the intended user group.

Complementary scheme

A colour scheme using two hues opposite each other on the colour wheel, such as blue and orange. It gives maximum contrast and vibrancy; one hue usually dominates and the other is used as accent.

Analogous scheme

A scheme built from two or three adjacent hues on the colour wheel, such as blue, blue-green and green. It is harmonious and calm, and needs value contrast to avoid looking flat.

Light reflectance value

A 0–100 scale of how much light a surface reflects. Ceilings are ideally above 80 and floors 20–40, giving balanced luminance and reducing the artificial lighting required.

Metamerism

The phenomenon where two colour samples match under one light source but appear different under another. It is why finishes should be approved under the actual or specified lamp type.

Martindale rub test

A measure of upholstery abrasion resistance expressed in rubs. Roughly 20,000 suits domestic use, 25,000–40,000 contract use, and above 40,000 heavy contract applications.

Engineered timber flooring

A flooring product with a real timber wear layer bonded to a stable plywood or composite core. It resists moisture movement better than solid timber and is suitable over underfloor heating.

Paint sheen levels

Matt for ceilings and low-traffic walls, eggshell or satin for general walls, and semi-gloss or gloss for kitchens, bathrooms and trim. Higher sheen is more washable but highlights surface imperfections.

Case goods

Non-upholstered furniture that provides storage or surface, such as cabinets, sideboards, shelving and desks. In specification they are listed with dimensions, material, finish and hardware.

Luminous flux

The total light output of a lamp or luminaire, measured in lumens (lm). It describes the source, whereas illuminance in lux describes the light actually arriving at a surface.

Illuminance

The amount of light falling on a surface, measured in lux (lx), where one lux equals one lumen per square metre. Design targets vary by task, from about 100 lx circulation to 500 lx worktops.

Colour rendering index

A 0–100 rating of how faithfully a light source shows colours compared with daylight. A value of 80 or more suits general interiors; 90 or more is needed for colour-critical tasks.

Lighting layers

Ambient general light, task light for focused work, accent light for highlighting objects, and decorative light as a feature. A complete interior scheme usually combines at least three of these.

Reflected ceiling plan

A drawing showing the ceiling as if viewed from above, including luminaires, switching groups, ceiling heights, bulkheads, diffusers and detectors. It is coordinated with the furniture layout plan.

Poché

The solid shading or hatching used on plans to indicate cut elements such as walls. It distinguishes structure from open space and clarifies the drawing at a glance.

Drawing scale

The ratio of drawn size to real size. Interiors use 1:50 and 1:20 for plans and elevations, 1:5 and 1:10 for details, and 1:100 for building plans.

Mood board

A presentation board of images, colour chips and texture references that communicates the intended atmosphere and design direction. It is conceptual and precedes the specification of products.

Stud partition

A lightweight internal wall of metal or timber studs faced with plasterboard. Its fire and acoustic performance depends on stud spacing, board layers, insulation and sealing of joints and penetrations.

Suspended ceiling grid

A modular ceiling of 600 × 600 mm tiles in a metal grid hung below the structure. The plenum above carries services and needs access panels at valves, dampers and junction boxes.

Socket outlet heights

Typical coordination heights: 300 mm above floor for general sockets, 1,000–1,200 mm for switches, and 1,100 mm above floor for kitchen worktop outlets, kept consistent across the project.

Fire door

A door assembly rated to resist fire for a stated period, fitted with a self-closing device and intumescent seals. It must never be wedged open on an escape route.

Bauhaus

A German school active 1919–1933 that united craft and industrial production. Its interiors used functional forms, primary colours, geometric planes and tubular steel furniture.

Art Deco

An early 20th-century style using geometric zigzags, stepped forms, glossy lacquer, chrome and exotic veneers. It signalled modernity and luxury in hotels, cinemas and ocean liners.

Paphos mosaics

Roman floor mosaics of the 2nd–3rd century AD in the villas of Nea Paphos, Cyprus, including the Dionysos mosaic. They are key evidence of late Roman domestic interior decoration.

Sample board

A presentation board showing actual physical samples of specified finishes, each labelled with product name, code, supplier and location of use, arranged in the proportions of the final scheme.

Schedule of finishes

A written table listing each surface, its specified finish, product reference, manufacturer, colour code, location and quantity. It must match the drawings and the specification exactly.

Design brief

A written statement agreed with the client covering needs, budget, programme, constraints and regulatory requirements. It forms the basis for the concept and later design decisions.