Interior design follows its own laws and is guided by specific principles. Often, these principles are evident and stem from common sense.
1. Generalize.
A solid form is better for design than a half or fragmented one.
Wholeness is when all parts and details visually connect into
a unified system, like kernels in an ear of corn.
2. Use simple forms.
The most correct form is a sphere, followed by a cube.
3. God and design are in the details.
In the details lies the essence of design.
4. If you have no design ideas – start fixing flaws.
- Design the corners and joints.
- Achieve wholeness.
- Visually expand the space.
5. Work towards the idea.
Every line and detail in the interior should serve the idea based on nuance or contrast.
6. Highlight the main elements.
There should be a main and secondary focus to avoid monotony. Monotonous, uniform information is poorly perceived.
7. Principle: “Came and saw”.
The first impression is the strongest. Imagine what the viewer will see first.
8. Immerse yourself in the interior!
Imagine that you live here, walk through the rooms, clean up…
9. Use Occam’s Razor
- Do not create entities unnecessarily. If you can eliminate an element of the interior without harming the composition, you should do so.
- Every line should be justified by intent, as every millimeter of line on the drawing costs the client money.
10. Tune into scale.
Interior elements should be of a scale consistent with a person.
11. Light is everything to us.
It is light that sets the character of perception of space and objects.
12. Do not turn your back to it.
A person should not sit with their back to the exit. There should be no possibility for someone to approach from behind unexpectedly and scare them.
13. Tectonics is visual physics.
The form must visually withstand loads. This is achieved through shape, color, texture, and rhythm.
All interior elements have a conditional weight for perception. Objects with emphasized materiality have greater weight, while immaterial ones have less.
The designer works with this weight, achieving harmony and balance. Elements of equal weight in the interior “compete with each other” for dominance in perception.
14. What is reflected in the mirror is important.
The space should be designed considering the perception outline. Through design and artistic techniques, it is possible to create new forms and spaces on the perception outline, as well as correct their flaws.
Mirrors, for example, can correct space and form, making it from “deficient” to whole.
15. Create continuity.
Continuity and infinity appear more visually justified than limitation and discontinuity.
16. Delicately connect lines and materials.
The junction of lines, shapes, and volumes of different natures is important. At their junctions, there should be a “resulting form”.
17. Use expressive lines.
Line and volume should be perceived as entities with their own character of compositional movement, to create greater expressiveness.
18. Manage attention.
Through varying levels of lighting, composition, accents, and planning solutions, you can manage a person’s attention.
19. Make design “smart”.
Strive for multifunctionality, modularity of elements, interchangeability, and maximum effective use of space.
20. Use your head.
Say no to formalism and thoughtless copying of forms and techniques. Offer individual and adequate solutions.
21. Give your eyes a rest.
An abundance of visual information overloads perception, making it less sensitive. The eyes need to rest.
22. Do not forget that design is for people, not people for design.
23. Sharp corners are aggressive to perception.
24. Be delicate.
A toilet should not be placed directly opposite the entrance.
25. Do not place doors directly opposite each other.
26. Fight against corridors – remnants of the Soviet era.
27. More private zones for solitude and relaxation should be designed.
28. Pay attention to entrances to rooms.
The layout should not be designed so that a person enters the room
“along the wall.” It is much better to enter “diagonally”.
29. Calm down and fear nothing.
Do not be afraid to complicate life for builders. They build for a year. They live for years.
30. Design the joints!
Joints and corners should definitely be designed to avoid devaluing the idea.
31. Think about smokers and non-smokers.
Non-smoking people feel uncomfortable entering a public restroom through a smoking room.
32. Let “air” into the space.
The space should be open, not oppressive with monotony and lack of gaps and openings. It is good when there is a “breakthrough” in space (for example, a reflective stretch ceiling).
33. Symmetry is either there or it isn’t.
If the symmetry is not complete – do not be afraid to disrupt it even more.
34. Work with archetypes and context.
There are already established familiar images in a person’s consciousness – archetypes. There is also the user’s and client’s visual experience – context. It is worth relying on them, not ignoring them.
35. Listen carefully to the client. If something is unclear – do not hesitate to ask again!
36. Create dramaturgy.
The dialogue of forms sets the dramaturgy of the space. The nature of their contradiction can emphasize the designer’s idea.
37. Use the power of rhythm.
Rhythm sets tension, dynamics of form, scale. Rhythm can destroy or emphasize form.
38. Understand who dominates!
An aquarium, a television, and a fireplace are powerful visual accents in the interior. Any of them can become the main element in the room, becoming the center of composition, the dominant. According to design laws, there should be only one main element. Any item, even the brightest interior piece, takes a back seat.
39. Understand and simplify.
The fewer formative principles in the interior, the easier it is to create a harmonious interior, and the stronger these principles work. Do not scatter ideas and techniques. Stand out with subtle taste and sharp intellect.
40. Check for logic.
Functionality, logic, and justification should be the measure of every detail in the interior.
41. Adjust the white balance.
If white is used in the interior, it serves as a tuning fork for perceiving other colors, acting as a kind of reference point.
42. Be careful with black!
Black is not a color, but the absence of color. It can destroy volume, create too powerful an accent, and introduce one-dimensionality. My advice – add a touch of warm or cool color to it, depending on the color harmony.
43. First, arrange the furniture freely – in its places.
When creating a planning solution, the main thing is to think through the placement of furniture and equipment considering ergonomics and function.
The placement of partitions is secondary. Furniture should stand freely, in a hospitable manner.
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