SPACE

“We put thirty spokes together and call it a wheel; But it is on the space
where there is nothing that the utility of the wheel depends.
We turn clay to make a vessel;
But it is on the space where there is nothing that the utility of the vessel
depends.
We pierce doors and windows to make a house; and it is on these
spaces where there is nothing that the utility of the house depends.
Therefore, just as we take advantage of what is, we should recognize the
utility of what is not.”
Lao-tzu
Tao Te Ching
6th century B.C.
SPACE
• Space is one of the most important elements of interior design.
Space acts as a foundation on which the entire interior design plan
is built. Hence it is essential that the designer is well aware of the
space available, its dimensions and its utilities.
• Space is divided into two types namely

TWO THREE
DIMENSIONA DIMENSIONA
L L

COVERS FLOOR FORMS THE LIVING

(INCLUDES LENGTH SPACE(LENGTH,BREA
&BREADTH.) DTH &HEIGHT)
EVERY SPACE HAS ITS OWN DEFINATION IN DIFFERENT TYPES OF CATEGORY BASED ON ITS
COLOUR
LIGHTING
TEXTURE
PATTERN

Category of space
Laboratory
Office
Study
Special use
General use
Support
Health care
Residential
ELEMENTS OF SPACE MAKING

•The following are

horizontal elements of
form.

•BASE PLANE

•ELEVATED BASE
PLANE

•DEPRESSED BASE
PLANE

•OVERHEAD BASE
PLANE
 BASE PLANE
•The surface articulation of
the ground or floor plane
is often used in architecture
to define a zone of space
within a larger context.
•.
ELEVATED BASE PLANE
Elevating a portion of the
base plane creates a specific
domain within a larger spatial
context
.
An elevated plane can define
a transitional space between
the interior of a building and
the outdoor environment.
ELEVATED BASE PLANE
•Elevating a portion of the base
plane creates a specific domain
within a larger spatial context
•.
•An elevated plane can define a
transitional space between the
interior of a building and the
outdoor environment.
DEPRESSED BASE PLANE

•Lowering a portion of the base

Library, Wolfsburg Cultural Center, Essen, Germany, 1962, plane isolates a field of space
Alvar Aalto
from a larger context.

•.
OVERHEAD BASE PLANE
•An overhead plane defines a field of space between itself and the ground plane.
The roof plane can be the major space-defining element of a building and visually
organize a series of forms and spaces beneath its sheltering canopy.
•The major overhead element of a building is its roof plane.
•Itnot only shelters the interior spaces of a building from sun, rain, and snow, but
also has a major impact on the overall form of a building and the shaping of its
spaces.
•The form of the roof plane, in turn, is determined by the material, geometry, and
proportions of its structural system and the manner in which it transfers its loads
across space to its supports.
OVERHEAD BASE PLANE
•The ceiling plane of an interior
space can reflect the form of the
structural system supporting the
overhead floor or roof plane.

•As in the case of the base plane,

the ceiling plane can be
manipulated to define and articulate
zones of space within a room. I

•The form, color, texture, and

pattern of the ceiling plane can be
manipulated as well to improve the
quality of light or sound within a
space or give it a directional quality
or orientation.

•Well-defined negative areas or

voids within an overhead plane,
such as for skylights, can be seen
as positive shapes that establish
the presence of spatial fields below
their openings.

Interior of Church, Parish Center, Wolfsburg, Germany, 1960–62, Alvar Aalto

VERTICAL ELEMENTS DEFINING SPACE
•Vertical forms have a greater presence in our visual
field than horizontal planes and are therefore more
instrumental in defining a discrete volume of space and
providing a sense of enclosure and privacy for those
within it.

•They serve to separate one space from another and

establish a common boundary between the interior and
exterior environments.

•They serve as structural supports for floor and roof

planes. They provide shelter and protection from the
climatic elements and aid in controlling the flow of air,
heat, and sound into and through the interior spaces of
a building.
VERTICAL ELEMENTS
•Vertical Linear Elements

•Vertical
linear elements define the perpendicular
edges of a volume of space.

•Single Vertical Plane

•A single vertical plane articulates the space on

which it fronts.

•L-shaped Plane

•An L-shaped configuration of vertical planes

generates a field of space from its corner
outward along a diagonal axis.

•Parallel Planes

•Two parallel vertical planes define a volume of

space between them that is oriented axially
toward both open ends of the configuration.

•U-shaped Plane

•A U-shaped configuration of vertical planes

defines a volume of space that is oriented
primarily toward the open end of the
configuration.

•Four Planes: Closure

•Four vertical planes establish the boundaries of

an introverted space and influence the field of
space around the enclosure
•A vertical linear
element, such as a
column, obelisk, or
tower, establishes a
point on the ground
plane and makes it
visible in space.
Standing upright and
alone, a slender linear
element is
nondirectional except
for the path that would
lead us to its position in
space.
•Four columns can establish the
corners of a discrete volume of
space within a larger room or
setting.

•Traditional Roman houses

typically were organized about
an atrium open to the sky and
surrounded by a roof structure
supported at the corners by four
columns. Vitruvius termed this a
tetrastyle atrium.
SINGLE VERTICAL PLANE

•A vertical plane has frontal

qualities. Its two surfaces or faces
front on and establish the edges of
two separate and distinct spatial
fields.

•These two faces of a plane can be

equivalent and front similar spaces.
Or they can be differentiated in
form, color, or texture, in order to
respond to or articulate different
spatial conditions.
SINGLE VERTICAL PLANE

•The height of a vertical

plane relative to our body
height and eye level is the
critical factor that affects
the ability of the plane to
visually describe space.
•The surface color, texture,
and pattern of a plane
affect our perception of its
visual weight, scale, and
proportion.
•When related to a defined
volume of space, a vertical
plane can be the primary
face of the space and give
it a specific orientation ,
SINGLE VERTICAL PLANE
 L- SHAPED PLANES

•An L-shaped configuration of vertical

planes defines a field of space along a
diagonal from its corner outward.

•Ifa void is introduced to one side of

the corner of the configuration, the
definition of the field will be weakened.

•Ifneither plane extends to the corner,

the field will become more dynamic
and organize itself along the diagonal
of the configuration
L- SHAPED PLANES
PARALLEL PLANES
•A pairof parallel vertical planes
defines a field of space between them.

•The definition of the spatial field along

the open ends of the configuration can
be visually reinforced by manipulating
the base plane or adding overhead
elements to the composition.

•If one of the parallel planes is

differentiated from the other by a
change in form, color, or texture, a
secondary axis, perpendicular to the
flow of the space, will be established
within the field.
U- SHAPED PLANES
•A U-shaped configuration of vertical planes
defines a field of space that has an inward
focus as well as an outward orientation..

•It
allows the field to have visual and spatial
continuity with the adjoining space.

•If
the configuration of planes is rectangular and
oblong in form, the open end can be along its
narrow or wide side.
•Four vertical planes encompassing a field of space is probably the most
typical, and certainly the strongest, type of spatial definition in
architecture.
FOUR PLANES :CLOSURE
OPENINGS IN SPACE DEFINING ELEMENTS
•No spatial or visual continuity is
possible with adjacent spaces
without openings in the enclosing
planes of a spatial field.

• Doors offer entry into a room

and influence the patterns of
movement and use within it.

•Windows allow light to penetrate

the space and illuminate the
surfaces of a room, offer views
from the room to the exterior,
establish visual relationships
between the room and adjacent
spaces, and provide for the
natural ventilation of the space.
OPENINGS
✤ WITHIN PLANES: An
opening can be located
wholly within a wall or
ceiling plane and be
surrounded on all sides by
the surface of the plane.

✤ AT CORNERS:An opening
can be located along one
edge or at a corner of a wall
or ceiling plane. In either
case, the opening will be at
a corner of a space.

✤ BETWEEN PLANES:An
opening can extend
vertically between the floor
and ceiling planes or
horizontally between two
wall planes. It can grow in
size to occupy an entire wall
of a space.
WITHIN PLANES
•An opening located wholly within a wall
or ceiling plane often appears as a
bright figure on a contrasting field or
background.

•The shape of the opening, if similar to

the shape of the plane in which it is
located, will create a redundant
compositional pattern.

•Multiple openings may be clustered to

form a unified composition within a
plane, or be staggered or disspersed to
create visual movement along the
surface of the plane

•As an opening within a plane increases

in size, it will at some point cease to be
a figure within an enclosing field and
become instead a positive element in
itself, a transparent plane bounded by a
heavy frame.

•Openings within planes naturally

appear brighter than their adjacent
surfaces
WITHIN PLANES
OPENINGS AT CORNERS
•Openings that are located at
corners give a space and the
planes in which they are located
a diagonal orientation.
•A corner opening visually
erodes the edges of the plane in
which it is located and
articulates the edge of the plane
adjacent and perpendicular to it.
The larger the opening, the
weaker will be the definition of
the corner.
•If openings are introduced
between the enclosing planes at
all four corners of a space, the
individual identity of the planes
will be reinforced and diagonal
or pinwheel patterns of space,
use, and movement will be
encouraged.
OPENINGS AT CORNERS

Studio, Amédée Ozenfant House, Paris, 1922–23, Le Corbusier

OPENINGS BETWEEN PLANES
•A verticalopening that extends from the floor to the
ceiling plane of a space visually separates and
articulates the edges of the adjacent wall planes.
•Iflocated at a corner, the vertical opening will erode
the definition of the space and allow it to extend
beyond the corner to the adjacent space.

•A horizontal opening that extends across a wall

If the opening is not very deep, it will not erode the
integrity of the wall plane.
•Turning a corner with a horizontal opening reinforces
the horizontal layering of a space and broadens the
panoramic view from within the space.
•Ifthe opening continues around the space, it will
visually lift the ceiling plane from the wall planes,
isolate it, and give it a feeling of lightness.
•Locating a linear skylight along the edge where a wall
and ceiling plane meet allows incoming light to wash
the surface of the wall, illuminate it, and enhance the
brightness of the space. The form of the skylight can
be manipulated to capture direct sunlight, indirect
daylight, or a combination of both.
OPENINGS BETWEEN PLANES

Window-walls offer
more expansive views
and permit a greater
amount of daylight to
penetrate a space
than any of the
previous examples of
openings. If they are
oriented to capture
direct sunlight, sun-
shading devices may
be necessary to
reduce glare and
excessive heat gain
within the space.
Living Room, Samuel
Freeman House,
ROLE OF LIGHT AND COLOUR IN SPACE DESIGN

LIGHT
Light is one of the most obvious elements of interior design. Either natural or
man-made, without light other elements namely color, texture and pattern have no
significance at all.
Light sets in the mood and ambience into a living space and highlights the every
other element including space, line and forms. While smart placement of doors and
windows should take care of the natural light, man-made or artificial lighting is
broadly divided into three major types namely
 Task Lighting
 Accent Lighting
 Mood Lighting
LIGHT
• Light is one of the most obvious elements of interior design. Either natural or
man-made, without light other elements namely color, texture and pattern
have no significance at all.
• Light sets in the mood and ambience into a living space and highlights the
every other element including space, line and forms. While smart placement of
doors and windows should take care of the natural light, man-made or artificial
lighting is broadly divided into three major types namely
 Task Lighting
 Accent Lighting
 Mood Lighting

THE LIGHT SOURCE AND COLOUR QUALITY ALSO DEFINES THE SPACE

Colour
Light Source Colour Quality
Temperature
•Candle Light •Warm •1750 K
•Incandescent Lamp •Medium Standard
•White Fluorescent •Cool •2600 K -
Lamp •Very Cool 3000K
•Clear Blue Sky •4250 K
•10,000 K
 LIGHT WELL
A vertical shaft that
brings natural light to
the lower floors or
basements

LIGHT SHELF
A horizontal surface that
reflects daylight deep into
a building.

ATRIUM
A large open air or skylight
covered space surrounded
by a building.

CLERESTORY
A high section of wall that
contains windows above
eye level.
Purpose is to admit light,
fresh air or both.
 ROOF MONITORS
It is a raised structure
running along the ridge of a
double-pitched roof, with its
own roof running parallel with
the main roof.
EXTERNAL
REFLECTORS
Use of reflective
materials, outside or on
the structure to maximize
the light into the structure.
LIGHT DUCT
Utilize openings in the building
to bring sunlight from the roof
into deeper levels of the
building.
REFLECTIVE BLINDS
Unlike shades , we can
adjust slats to control light
and ventilation
COLOURS…. • primary and teritiary colours

• Colors are broadly classified

into
• Primary and
• Secondary

• Analogous and Monochromatic

colors.
also sub-categorized into
• Tertiary,
• Complementary,
• Analogous and Monochromatic
• colors.
 • The property possessed by an object of
producing different sensations on the eye as
COLOUR a result of the way it reflects or emits light.
• Colors establish an aesthetic connection
For example, red is an between objects and set the mood. Colors
excellent choice for must be chosen based on the psychology
dining room as it and the mindset of the dweller.
encourages appetite and
green for bedroom as it is
the color of tranquility
and health. Each color
has three distinct
characteristics namely
Hue, Value and
Intensity, and an interior
designer must be well
aware of these
characteristics to perform
various permutations and
combinations.
APPLYING CONCEPT OF COLOUR TO THE SPACE..
LE CORBUSIER
LIST OF HIS FEW WORKS
Charles-Édouard Jeanneret, known as Le
Corbusier, was a Swiss-French architect,
 La Roche-Jeanneret Project, Paris
designer, painter, urban planner, writer,  Villa savoy
and one of the pioneers of what is now
called modern architecture. He was born in  Place of justice Chandigarh
Switzerland and became a French citizen  Place of assembly, Chandigarh
in 1930
 Notre Dame du Haut, Ronchamp

VILLA SAVOY
 SITUATED IN POISSY, A SMALL COMMUNE OUTSIDE OF PARIS, IS ONE OF THE MOST
SIGNIFICANT CONTRIBUTIONS TO MODERN ARCHITECTURE IN THE 20TH CENTURY,
VILLA SAVOYE BY LE CORBUSIER. COMPLETED IN 1929, VILLA SAVOYE IS A MODERN
TAKE ON A FRENCH COUNTRY HOUSE THAT CELEBRATES AND REACTS TO THE NEW
MACHINE AGE.
SAVE THIS PICTURE!
 VILLA SAVOYE’S DETACHMENT FROM ITS PHYSICAL CONTEXT LENDS ITS DESIGN TO BE
CONTEXTUALLY INTEGRATED INTO THE MECHANISTIC/INDUSTRIAL CONTEXT OF THE EARLY
20TH CENTURY, CONCEPTUALLY DEFINING THE HOUSE AS A MECHANIZED ENTITY.

• VILLA SAVOYE IS THOROUGHLY TAILORED TO

CORBUSIER’S FIVE POINTS._PILOTIS
_FLAT ROOF TERRACE
_OPEN PLAN
_RIBBON WINDOWS
_FREE FAÇADE
SPATIAL PLANNING
 THE SIMPLISTIC, STREAMLINED RESULT BORN OUT OF • THE LOWER LEVEL SERVES
AS THE MAINTENANCE AND
INNOVATIVE ENGINEERING TECHNIQUES AND MODULAR
SERVICE PROGRAMS OF THE
DESIGN HAD INFLUENCED CORBUSIER’S SPATIAL PLANNING HOUSE. ONE OF MOST
AND MINIMALISTIC AESTHETIC. INTERESTING ASPECTS OF
THE HOUSE IS THE CURVED
GLASS FAÇADE ON THE
LOWER LEVEL THAT IS
• THE PILOTIS THAT SUPPORT THE DECKS, THE FORMED TO MATCH THE
RIBBON WINDOWS THAT RUN ALONGSIDE THE TURNING RADIUS OF
HULL, THE RAMPS PROVIDING A MOMENT OF AUTOMOBILES OF 1929 SO
EGRESS FROM DECK TO DECK; ALL OF THESE THAT WHEN THE OWNER
ASPECTS SERVED AS THE FOUNDATION OF THE DRIVES UNDERNEATH THE
FIVE POINTS OF ARCHITECTURE AND ARE FOUND LARGER VOLUME THEY CAN
IN THE OVERALL COMPOSITION OF VILLA SAVOYE. PULL INTO THE GARAGE WITH
THE EASE OF A SLIGHT TURN

• HOWEVER ONCE INSIDE, THERE

BECOMES A CLEAR UNDERSTANDING OF
• THE LIVING QUARTERS, OR THE THE SPATIAL INTERPLAY BETWEEN
UPPER VOLUME, ARE FITTED WITH PUBLIC AND PRIVATE
RIBBON WINDOWS THAT BLEND SPACES. TYPICALLY, THE LIVING
SEAMLESSLY INTO THE STARK, SPACES OF A HOUSE ARE RELATIVELY
WHITE FAÇADE, WHICH VOID THE PRIVATE, CLOSED OFF, AND RATHER
FAÇADE(S) OF ANY SECLUDED. YET, LE CORBUSIER
HIERARCHY. THE RIBBON SITUATES THE LIVING SPACES AROUND
WINDOWS BEGIN TO PLAY WITH A COMMUNAL, OUTDOOR TERRACED
THE PERCEPTION OF INTERIOR AND THAT IS SEPARATED FROM THE LIVING
EXTERIOR, WHICH DOES NOT AREA BY A SLIDING GLASS WALL.
FULLY BECOME EXPRESSED UNTIL
ONCE INSIDE
THIS NOTION OF PRIVATIZED AREAS WITHIN
A LARGER COMMUNAL SETTING IS A
COMMON THREAD LATER ON IN LE
CORBUSIER’S HOUSING PROJECTS.
 FEW OF HIS EXAMPLES
• BOTH THE LOWER LEVEL AND THE UPPER
LIVING QUARTERS ARE BASED OFF AN OPEN
PLAN IDEA THAT PROVOKES THE INHABITANT
TO CONTINUOUSLY MEANDER BETWEEN
SPACES. AS AN ARCHITECTURAL TOUR DE
FORCE, LE CORBUSIER INCORPORATES A
SERIES OF RAMPS MOVING FROM THE
LOWER LEVEL ALL THE WAY TO THE
ROOFTOP GARDEN, WHICH REQUIRES THE
INHABITANT TO SLOW DOWN AND
EXPERIENCE THE MOVEMENT BETWEEN
SPACES

VILLA SAVOYE IS A HOUSE DESIGNED

BASED ON THE ARCHITECTURAL
PROMENADE. ITS EXPERIENCE IS IN THE
MOVEMENT THROUGH THE SPACES. IT IS
NOT UNTIL ONE BECOMES FAMILIAR WITH
THE SUBTLE PECULIARITIES THAT THE
MOVEMENT AND PROPORTIONALITY OF
THE SPACES EVOKES A SENSE OF
MONUMENTALITY WITHIN THE PARISIAN
SUBURB

 IN HIS EVERY BUILDING HE USED KEY CONCEPTS WHICH MADE HIS PROJECTS SUCCESSFUL
 HE PLAYED WITH COLOURS BASED ON THE USER REQUIRMNET
 HE MOSTLY ALLOWED NATURAL LIGHT TO ILLUMINATE THE SPACE
 THE INTERIOR SPACES ARE PROPERLY DIVDED ACORDING TO PUBLIC AND PRIVATE SPACES
A narrator by design
and for design. ID . Shabnam gupta
 Shabnam Gupta is one of the most awarded interior
A designers in the country and is known to conjure up
visual wonders and is recognised for her personally
designer tailored, client specific interiors that use bursts of
colours, textures and other unique elements within a
by contemporary design palette.

professio By combining traditional symbolism and visual elements,

Shabnam Gupta mixes and matches an earthy palette with
n, a a contemporary soul that’s laced with a rustic edge.

thinker Everything leads to a new beginning.

by habit,
and an
inventor
by choice
 The Philosophy

Great Design
doesn’t shape
spaces. It shapes
lives.
The orange lane
The Orange Lane is a design firm that undertakes interior and architectural projects as design consultants and also provides complete turnkey
design solutions.

The firm was born in the year 2003.

It is the brainchild of Principal Designer, Shabnam Gupta

completed her Interior Design Diploma from L.S. Raheja School of Architecture in the year 1994

Gupta honed her skills in various architectural and design projects by working with architect Tushar Desai before setting up her own private
practice.

She believes Design always has space for innovation.Drawing inspiration from nature, tradition, art, etc. keeps her going and helps her in
maintaining the balance in her individual style while letting in some current trends

Vibrant hues and an affinity for nature are recurring elements in all of Shabnam's designs.
The orange lane
Projects
The Mountain House

Artistic Abode

Star Power

Farmhouse in karjat

TBSE Kamla Mills

TBSE Juhu

Monochrome House

Total projects -36

Awards
SOURCE

http://www.mgsarchitecture.in/architects/1196-id-shabnam-gupta-the-orange-lane.html

https://www.entrepreneur.com/author/shabnam-gupta

https://shabnamgupta.com/index.php#Home-page