Graphic Poster in Interior Space as Spatial and Visual Accent

Visual accent in a room can create specific spatial ambiance. What is the definition of visual accent? Accent simply refers to elaborate minor part that gives significant impact to the major part in a certain room or other type of artificial space environment. Visual accent could be described as a kind of detail that visually creates significant impact to the whole appearance of the room.

This visual accent could be something two-dimensional and/or three-dimensional object. This article is trying to explore the related matters about two-dimensional visual accent particularly in associated with the application of graphic poster.

Currently, digital technology enabling various possibilities for image development in high-resolution source and produce it in high quality print-out material in various type of media. Large size poster could be made in full-height wall size with almost perfect photographic quality, and we can use it as powerful visual statement in the wall (or other room elements). Now, to hang a conventional painting with pretty frame on the wall is not enough anymore, I think we can make another visual statement to be created in more creative and contemporary way!.

Selection of correct images is the first main consideration. In a corporate office interiors such as Bank for example, it is very common that corporate graphic poster works are widely and carefully used as visual communication tools to define corporate identities. Graphic posters in a Bank offcie spaces are carefully developed and selected for certain purposes for example, they are used to lead the customers easily identify particular areas such as Retail Banking area or Priority Banking Area.

Image themes in graphic posters could be used as simple reflection of specific messages that a company or institution want to visually transmitting to the room user such as message of togetherness, openness, fanciness and other values. A series of posters in reception area of petroleum company could be nicely displayed their onshore and offshore activities. Or maybe in sea freight company, a series of wall posters are utilized nicely to visually inform their business lines by capturing daily harbor and container yard activities.

 Consideration in related with graphic poster details such as color composition, size proportion, its combination with text messaging and other detail treatments are important aspects need to be carefully taken further. In overall appearance, the graphic posters application should become integrated part in the interior scenery.

 

Other consideration is related with how this graphic poster application should be placed in the interior scenery. If this becomes major visual accent, a clearance observation spaces should be properly provided to make it strongly visible. Other interior treatments such color s and other strong detailing selection should be well managed to avoid any potential visual distractions.

When The Room Suddenly More Digitally Interactive!

Digital interactivity maybe could be simply defined with terms “look and feel” that is associated with an interface of user with a digital intelligent device, more often is related with computer stuff. Term of “look” is associated with its visual design appearance and term of “feel” refers physical interactivities. Physical interactivities may refer to every possibility for the user to experiencing or even exploring the tool for a certain activity.

In my previous posting in this blog, I have tried to define an interior space as an artificial 3-dimensional environment. If ‘mathematically” 1st dimension refers to lines, 2nd dimension refers to areas and 3rd dimension refers to volume, how if we put and insert this interactivity ideas as the 4th dimension element in a 3-dimensional environment?

Since this interior environment basically is a habitable space, it will be more convenient to have every components are become user friendly and encourage user to have positive interactivities in line with its specific room functions. In line with current technology development, in a home a user could be easily turn-on the TV by the using of remote control or maybe turn-off the notebook by the using of hand phone. In an office meeting room, a group of persons can have audio-visual teleconference with other members remotely at another place. If needed the meeting room could be darkened by dimming the lamps and roll-down the motorized window screen by the using of remote control to get certain level of comfort.

Maybe the above explanations are common examples of simple digital interactivity functions that could be happened in a room. Yes, ‘functionally’ digital interactivity makes user life getting easier and more comfortable.

But how if these technology possibilities are explored not just enable functional purposes? It is interesting to explore the ideas in related with the application of digital technologies to create interactivities in next further levels: “entertaining and creative levels”?

In The 2008 World Expo in Zaragoza Spain, Sensacell Corporation have demonstrated these interesting possibilities. Sensacell have provided a product they called as Interactive Floor System that enable various visual effects could be projected and alive on the floor surfaces. Now, the floor is not just ‘ordinary surfaces’ but it will become alive, it could be explored to create more interactivities in ‘entertaining ways’. A video here that excerpted from www.sensacell.com shows that there will be so many creative ideas could be explored by the using this Modular Sensor Surfaces Technologies. It really makes the room become alive, when it becomes more digitally interactive!

Of course, the content of the idea will become important aspect, it will determine level of its interactivity. Creative approaches are always needed to make the technology could be well implemented and meet with the user expectations.

Creating Space, a 3-Dimensional Artificial Environment for Human to Living In.

I would like to say that firstly an interior design solution shall deliver and provide direct and tangible impacts in related with space as a 3-dimensional environment which is generated based on specific and particular functional requirements. This environment space is artificial thing and could be visually and physically recognized by the existence of shape, depth and size. Of course, lighting both natural and internal artificial lighting are important elements that elaborate the existence of shape, depth and size.

Material characters – such as color, texture, transparent, gloss and others – could be slightly integrated after the shape of spaces are well and correctly generated. Maybe, in some cases this statement is not true because 3-dimensional and 2-dimensional aspects could be considered as integrated aspects in an interior solution.

What I'd like to say is, once an interior space is well created 3-dimensionally, it will always look great even all color to materials are white. Lighting details will become a determinant aspect to emphasize the 3-dimensional quality of the internal space.

Once an interior space is well defined 3-dimensionally, selection of color and textures to the material surfacing could be simply arranged.

(The 5th picture, the last 3D-rendering image in this posting is brilliantly prepared by Andika Soesanto)

An Interior Design Overview for a Corporate Executive Office.

My last posting on my blog is posted in early year of 2009. Suddenly, after I have got some pictures of my design works which is completed 5 years ago from an e-mail, I initiated to recollect past stories in related to these pictures. This project is already described in my blog that posted on December 2008. All of the pictures capture working suites for high level executives in an Oil Company.

First picture shows one of Commissioner Suite. Interior space arrangement is simply generated from placement of working desk, meeting table and lounge corner including adjacent private quater consist of wash room and praying room.

A curved working desk, an Italian table with natural leather top and white carara marble leg is placed at building perimeter corner side with bianco statuario marble credenza behind. A wall-mounted Nakamichi audio player is well-placed on anegree wooden wall architrave behind the working desk.

A round meeting table is placed in the middle of the room, an Italian table with natural leather top and carara marble leg as similar as working desk. Philips Starck’s three legs chairs that surrounding the table are owner choice. An electronic writing board is placed near the meeting table and integrated in a wooden alcove.

The second and third pictures show scenery of spacious Chief Executive Officer working suite. The room layout also generated on a simple scheme which is consisting of working desk area, meeting room spot in the middle space and guest lounge space is placed near room entry. A raised triangle shape lounge deck is placed in the middle-end side facing to panoramic view to the city.

The working desk is an Italian table with curved shape top that is covered in black leather surfacing with white carara marble top. In line with working table, the round meeting table top is also covered with natural black leather with white carara marble legs.

As similar as the Commissioner suite, this Chief Executive Officer suite is also provided with a private amenity, a private quarter behind working desk that consist of small bedroom, washroom and shower room.

Black and white leather chairs and sofas – including the unique Philips Starck’s meeting armchairs – are designer’s collection items that selected by user based on Interior Designer’s guideline that directing the overall design intentions that reflecting the dignity of simply modern and timeless design look.

The fourth picture is scenery of The President Commissioner suite, the largest suite in this executive floor area. The scenery is captured from guest lounge area. The lounge is consisting of Italian ‘Minotti’ sofa set which are united by a simple square coffee table on a loose Persian silk rug. A private quarter is placed adjacent the lounge and a raised-triangle viewing deck as similar as provided in Chief Executive Officer Suite is also placed adjacent to this lounge facing to the Jakarta panoramic CBD area. A Philips Starck Feature sofa is placed in this deck (not shown in the picture).

Working desk is placed in the middle of this suite facing perpendicularly to anegree wooden wall with a wall-mounted flat TV screen placed on. Place in the right and left side of this anegree wooden wall is a seriesof electronically switchable glass panels. By the using of an integrated remote control the user can make this glass panel become frosted or make it clear to enable direct viewing to the gallery area.

The working desk is an Italian ‘Minotti’ leather cover table in combination black leather cover to the main desk and beige leather cover to the side desk. Behind the working desk is placed a bianco statuario marble long pedestal (not shown in the picture) to enable placement of a ‘sleeping figure’ statue.

Basically, all rooms and areas in this executive floor is united by similar cushioned carpet tile flooring, similar anegree wood surfacing to the wall and joineries and similar bianco stauario marble to particular joinery type. In design intention point of view the using of these materials to whole areas is significantly important, because actually all wall enclosures conceptually are transparent glass walls, all individual rooms shall be visually well-integrated as one unity as a one ‘corporate gallery’. Even the lighting points could not be individually turn-off it could only be digitally dimmed when it needed. All ceiling surfacing visually appear as neutral element with simple rectangular padded panel with soft beige color to enable adequate and better acoustic performance and unify the arrangement of various types of lighting fixtures. Seemingly, many of Philips Starck’s stuff are also become element that integrate the overall design intention, because typical wooden doors are also equipped with solid chromed-aluminium handle from Philips Starck collection.

STACKING PLAN, a guideline to generate office space planning

Space planning is an important part of interior design process. Particularly, in a design process of an office spaces with multi-level occupancies, space planning is important process should be properly done. The output of space planning process are general layout plans where designer can describe to the user about the office occupancy mapping including information of ‘who sitting where’, various type of rooms, affinity of each room to other rooms and how certain office activities are well-grouped and organized to achieve certain level of working environment that meet user needs.

In case of multi level office space occupancy, say an office space with 5 to 10 floors in a tenancy building, further space planning analysis must be carefully considered. Before each floor layout plan are generated in several details, an Interior Designer must demonstrate to all user that the office stacking plan is meet and fit with the user expectations.

Stacking plan is a kind of chart and/or scheme that simply demonstrate occupancy mapping per floor. Basic data that need to be generated a stacking plan are following:

1. Headcount data for each departments and sections
2. Data of particular room that need to place in certain floor (there are specific requirements)
3. User guideline in related with how corporate activities should be accommodated and provided.
4. User guideline for affinities of each working group to other working groups and each work group to specific facilities.


A stacking plan chart could be simply initiated by the using of common spreadsheet software. This process is most likely a quantitative analysis process, where headcount data is initially be included into the spreadsheet. Describe the name of department and insert related headcount data. Add data of nett floor space area into the spreadsheet this will control occupancy density. Normally, open plan office space with minimum enclosed rooms could achieve density of 10 square meter (sqm) per person including workstation, circulation area, filing rooms, meeting rooms and other standard office room facilities. But in case of office with different scenery, say 50% open office area and 50% enclosed rooms, density could be approximately 25 sqm per person including workstation, circulation area, filing rooms, meeting rooms and other standard office room facilities. That is the reason, why an Interior Designer shall carefully ask to the user their preference in related with the type of office scenery.

Specific room such as Data Center, centralized meeting room, canteen or banking hall should be excluded and separately added into the above calculation of 10 sqm density or 25 sqm density. We can categorize these types of room as non-standard facilities. It will be useful should potential growth for the next years could be taken into account. Accordingly, occupancy density at ‘day one’ need to be improved to give adequate space for future expansion. Space for potential growth could be defined as swing space and at ‘day one’ occupancy it could be implemented as meeting rooms or interactive areas that are collapsible when working spaces getting bigger.


If user have already determined such room or facility should be placed in certain floor, this will be useful for Interior Designer to initiate stacking plan exercise. In most cases, user also have preference about where some departments should be placed in. Department with potential growth bigger than other, it should be placed near swing floor area such as centralized meeting room, common sharing facilities or other vacant floor if available.

Sometime office building have already prepared with strengthened floor area, this will be useful as starting point to determine placement of room that accommodate heavy equipment such as communication room, compactor room or maybe a strong room. Transition area of high zone lift and low zone lift is also another important consideration to determine the placement of centralized meeting rooms and or other common sharing facilities.

A space planning optimization should be carefully done, because maybe the placement of one department in a floor is not meet with another department expectation. In this case, main Interior Designer task is to demonstrate that occupancy density is approximately well distributed and affinity to each department are as close as possible with all user expectations. It will be a great and ideal situation where a department is not split-off into different floor level.

Sometime there is situation where a department should be splitting-off into different floor to avoid any situation where office occupancy becoming too dense and not comply with health and safety regulations. Number of fire escape doors and stairs in an office tenancy building are already calculated in line with optimum occupancy capacity. Number of male and female toilets are also provided and calculated in line with optimum occupancy capacity.

Successful space planning process should be initiated with correct and careful step-by-step processes where user needs are well identified, well managed, well optimized and finally well accommodated. An ability to drive users in persuasive manners will be very useful to achieve optimum stacking plan and minimize potential user conflicts could be minimized. If stacking plan for office occupancy could be well initiated, an Interior Designer could jump to next step of design process: to generate layout schemes in every floor level in more easy and smooth process.

INTERIOR LIGHTING, an Introduction

Lighting is an essential aspect in an interior environment. Without light, an interior enclosure, could not be visually defined and identified. Within light, an interior environment could be clearly defined by the appearance of color, ambience, its spatial size and depth. Light, in a particular intensity, will enable us to visually identify further specific detail characters of materials such as texture, pattern, transparency, glossiness and other visual related characters.

Interior lighting design involves both quantity and quality of lights. The essential functions of interior lighting are:

1. To provide visual comfort
2. To provide comfortable working environment
3. To provide particular illumination effect

Scientifically, visible light could be defined as electromagnetic wavelength (ג) within 4000 Angstrom (Ǻ) to 7000 Angstrom (Ǻ). Human eye is closely related with the appearance of light. Human eye sensitivity is depending on the wavelength of light. Less than 4000 Ǻ, it could be defined as ultra violet light. More than 7000 Ǻ, it could be defined as infra red light. Both ultra violet and infra red lights are not visible by normal human eyes.




Placed around electromagnetic wavelength of 5500 Ǻ, are combination of green and yellow colors. These colors at this range of electromagnetic wavelength provide best level of brightness to normal human eyes. Color of lights could be differed and identified by human eyes because different ranges of its electromagnetic wavelengths. Lamps produce both visible and invisible lights. Color of light is depending on its (electromagnetic) wavelength.

Light Color spectrum is one of important aspect in interior lighting design, because it delivers particular color effects against objects. There are two types of light color spectrum: continuous and discontinuous spectrum type. Light with continuous spectrum type will radiating all colors in the range of visible light, this will enable human eye to identify object in its best color visual interpretation. Meanwhile, Light with discontinuous spectrum type not radiate all range of visible colors. Other important aspects are luminous efficiency and lamp wattage that are associated with particular functional requirements.

Lighting source for an interior environment could be differed to two types of sources. Natural lighting is the first type of source and artificial lighting is the second one. Natural lighting is simply defined as lights which are coming from every kind of natural light source such as sun or daylight. Meanwhile, artificial lighting is simply defined as the opposite of natural lighting source. Commonly, artificial lighting could be simply differed into electrical type and non-electrical type. Natural lighting and artificial lighting provide different color effects to objects in an interior environment. Each of natural and artificial lighting has different color spectrums.



Basically, electrical lighting source could be differed into two types of lamp:

1. Incandescent lamp
2. Electrical gas discharge lamp

Incandescent lamp is a source of electric light that works by incandescence, an electric current passes through a thin filament, heating it until it produces light (Wikipedia). Incandescent lamp radiates all electromagnetic wavelengths that differ in its each wavelength. This mean that this type of lamp produces continuous light spectrum. According to this type of light spectrum, it could be said that generally incandescent lamp has the best color effect against objects.

Visually, color effect produced by incandescent lamp look warm in its yellowish color. Comparing to the other type of lamp, incandescent lamp has poor luminous efficiency. The luminous efficiency is poor, because too much electrical energy that converted into heat.

The second type is electrical gas discharge lamp. Light that is produced by this type of lamp is coming from an electric current passes particular gas inside a kind of tube. The light is produced by the impact of electrons that radiate from electrode device against electrons of the particular gas.

Fluorescent lamp is common example of low pressure gas discharge lamp. Fluorescent lamp radiates non-continuous color spectrum. This mean that fluorescent lamp not radiate all visible color spectrum (only radiate violet, blue, green and yellow). This also mean object that washed by fluorescent lamp will only reflecting particular only and object could not be identified in its true colors.

Fluorescent lamp also produces the un-visible ultra violet light. Particular gas at the internal side of the lamp tube will then convert the ultra violet light into useful visible light. Luminous efficiency of fluorescent lamp is much better than incandescent lamp. Average life cycle of fluorescent lamp is generally much longer than the incandescent lamp type. Currently, in the market we can various fluorescent product lamp types such as TL, SL and PL in many various shape and size.

Another example of electrical gas discharge lamp is natrium lamp a type of low pressure electrical gas discharge with most efficient illumination level. This type of natrium lamp only radiates yellow color spectrum, this mean it has worse color effect because whatever the object colors, it will only be reflected as yellow objects. This type of lamp is used for street lamp.


The basic thing is, selection of lamp fixture shall comply with the type of activity in a room and particular type of visual task. In an office working space fluorescent lamp and fluorescent downlights are used because the light effect commonly soft and properly fit for average three meters offices ceiling height. In case of a lobby room with high ceiling, it could be adequate to use metal halide lamp or halogen downlight. These type of lamp fixture could provide high illumination level on the floor surface even placed at six meter ceiling height. Sometime, two different types of lamp fixtures are mixed together to achieve better light effects for example is the mixing of white light of metal halide lamp and yellowish light of halogen lamp.

Lighting control is another important issue. Light from particular light source could be controlled to minimize glare, provide particular lighting effects and create room ambience. Since currently there is a global concern on energy saving issue, it will be wise that lighting design and planning shall also consider that the energy must be explored and used in a smart and efficient way.

JUNIOR SUITE ROOM REFURBISHMENT, A Design Proposal for a Five Star Hotel at Nusa Dua Bali

The Hotel is situated in Nusa Dua at south-end-peninsula of Bali Island. The area is a busy tourism enclave area with many of large international five star hotels which is located along Nusa Dua Beach.

This is could be defined as beach hotel room, but actually the hotel buildings existence along Nusa Dua Beach look very dense. I think most of the hotel rooms at this building block could not have a comfortable direct viewing to beautiful panoramic scenery of Indian Ocean.

This Junior Suite Room itself is placed in main building block of the hotel and facing to the garden landscaping. Beach scenery could only be viewed in narrow angle from balcony with neighborhood hotels as a back ground.

This refurbishment proposal issued and presented to the Hotel Owner on August 2001 in emerging and better economic situation after crisis on Asia in 1998. Visually, existing furnishing and decors appear in an obsolete look. This was becoming obvious when it compared with the existence of new hotels around.

But, main attention of course is to offer new space planning ideas. The Junior Suite Room is consisting of two floor levels. Located in lower level are sitting lounge, dining lounge and powder room, rest of the area at upper floor is used as bedroom and bathroom. A stair is placed to connect these lower and upper floors. A balcony is also provided adjacent to sitting lounge area.

First review is taken on the existing connecting stair and the furniture layout arrangement at lower level. New proposed layout scheme offered significant space improvement where stair starting point of stair step is changed and placed in better proximity near to the room entry door. This will release better free space for sitting and dining lounge at lower level. New stair could be developed better scheme than the existing, because riser height could be reduced to provide comfortable foot stepping without any obstruction to any usable bedroom space at upper level.

New long sofa is created as fixed built-in joinery and become more integrated part of the room that combined with loose single sofas and its coffee table with better direction to TV cabinet. Dining lounge is shifted to terrace balcony, this is mean half of the balcony is converted to become extended interior space. This better dining solution with garden viewing outside in compare with the existing scheme where dining table area is placed in tight space in front of the powder room.

At the upper floor, main intention is to improve the bathroom scheme in related with new arrangement of wardrobe, bed, writing table and of course the new void at formerly half of existing terrace balcony. Bedroom size is bigger than the existing scheme, because formerly existing void space is converted as bedroom extended area.