fbpx

Share on...

Spatial Strategies for Interior Designers by Kevin Rossi Design

There are many views as to what interior designers do to achieve a memorable space or design experience. In this reading, interior designer Kevin Rossi discusses how his design company KRD transforms existing buildings and spaces in order to improve their performance or to reinvent them for something entirely different.

An important interspace

According to Ian Higgens, interior design is concerned with creating an interface between people and the space they use. As a result, the interior designer has to consider a number of issues that range from the strategic to the detailed such as: the choice of materials that will be touched, the ergonomic qualities of items such as a door handle, or creating appropriate acoustic conditions and establishing correct atmospherics, these are all important aspects of interior design work that are sometimes overlooked.

Crucial to the success of any interior scheme is the spatial organisation otherwise referred to as “planning” of the facilities to enable the interior to satisfy its functional requirements.

When given an opportunity for the proposal of a new floor plan, designers need to consider the spatial strategies and any design decision should be justified in at least two ways or more. For example, doors and windows can frame a view, bathe a wall with light or to allow light to pass through it, even express depth. According to Matthew Frederick, a row of columns can provide structural support, define a circulation pathway, act as a “wayfinding” device, and serve as a rhythmic counterpoint to more irregularly placed architectural elements, just like a staircase.

A good example of this is KRD’s project Casa Orchard in Johannesburg.

Completing the logical sequence of movement through the space, the main staircase was reinstated in a dramatic fashion, ensuring an instant recognisable element in contrast to the lighter planes.

Here the stair’s primary purpose is to permit passage from floor to floor, but if well designed it can also serve as a congregation space, a sculptural element, and an orienting device in the building interior.

To truly ensure maximum benefit of design, the following three spatial chapters need to be considered…

Chapter 1: Spatial Relationships

Spaces relate to one another by, function, proximity or path of movement. They may also be relating from an emotional point of view, or a way they don’t form at all.

1. Solids vs Voids

The two most important keys to effectively organizing a floor plan are managing solid-void relationships and resolving circulation.

2. Positive & Negative Spaces

Have you ever felt a frightened space? And not only after watching The Conjuring or any other horror movie that heightened the atmosphere with in the room. Negative spaces are associated with scary/unseen creatures. Here minimum lighting, dark colours are key.

A sacred space on the other hand, is associated with religion, spacious, high ceilings and natural light. Whereby a fun space, created with bright, vibrant colours, provides an entertaining joyful atmosphere. Grand spaces are perceived as alluring, created often with double volume entrances, fitted with theatrical lighting lending to magnificence and splendour.

Confusing spaces may be intentional in their creation, they may have no links and create arbitrations. A mysterious space is generally filled with heavy patterns and unusual textures that add to the infinite. Calm spaces have natural lighting, green or lush colours that reference the environment. Claustrophobic spaces are mostly long and narrow in design, with minimal ventilation and lighting usually utilized as service spaces. 

3. Intermediate Spaces

Understand the spaces which connected or linked together by a third intermediate space. The relationship between the two main spaces depends on the nature of the third space. Intermediate spaces also can differ in orientation than the two spaces being linked. As seen below:

 

4. Circulation

“A building’s circulation where people walk should interconnect the program spaces with the stairs and elevator lobbies in a way that is both logical and interesting. The circulation system has to work both efficiently (particularly in event of fire) and aesthetically, offering pleasant surprises, unexpected vistas, intriguing nooks, agreeable lighting variations, and other interesting experiences along the way” – Matthew Frederick, 101 Things I learned in Architecture School

An excerpt from Architecture: Form, Space, & Order by Francis D.K Ching

 

Chapter: 2

The second strategy, from our experience of a space is strongly influenced by how we arrive in it. A tall, bright space will feel taller and brighter if counterpointed by a low-ceilinged, softly lit space. A monumental or sacred space will feel more significant when placed at the end of a sequence of lesser spaces. A room with south-facing windows will be more strongly experienced after one pass through a series of north-facing spaces – Matthew Frederick, 101 Things I learned in Architecture School

The entrance staircase was constructed in such a way as to contrast with the elegant peeled wall surfaces. With a surprise element of Denial and reward.

1. “Denial & Reward” to enrich

As we move through buildings, towns, and cities, we mentally connect visual cues from our surroundings to our needs and expectations. The satisfaction and richness of our experiences are largely the result of the ways in which these connections are made– Matthew Frederick, 101 Things I learned in Architecture School.

Denial and reward can encourage the formulation of a rich experience. In designing paths of travel. For example, designer Kevin Rossi (project Casa Orchard)  introduced the idea a customised sculptural seat element placed at the bottom of the staircase with three bronze discs in different finishes to give the space a mysterious atmosphere. 

2. Existing Structure

Showing a structural system on your floor plans throughout the design process— even if nothing more than a few dots or blobs—will help you organize the program, encourage you to think of your creation as a real building.

Give it a name

When you come up with a concept, give it a name. “Cape Town” or “Kings Landing” and other such monikers will help you explain to yourself what you have created. As the design process evolves and stronger concepts surface, allow new pet names to emerge and your old pet names to grow obsolete.

Overall, there are many ways to organise a space, at Kevin Rossi Design we group space from the importance, function and symbolism.

The material and objects in Casa Orchard were carefully selected and deployed in the design of the interior in order to create spatial identities

Chapter 3: Spacial Programme 

The third strategy, is a suitable programme to accommodate experience or design intend. Drawing random shapes on a floor plan, labelling it, and assume it will be suited to its intended use is not the right approach. Rather, investigate the suitable program requirements in depth and determine the specifics of the activities that will take place there.

1. Requirements

Ching argues, what spaces does your design require? Understand the spatial and organizational requirements. Distil the essential nature of the programme, and define a unique problem including a unique solution.

2. Types

You may also want to consider is it a public, private or semi-private space? It is believed that one circulates into the public spaces then semi-private then private spaces.

Discover more at Kevin Rossi Design.

 

 


Leave a comment/Ask a question

Your email address will not be published. Required fields are marked *

Visit SA Decor & Design on social media


Interested in advertising with us? Find out how