Neha Assudani portfolio, B.Sc-Interior Design+ 2 years Diploma,Dezyne E'cole College

COMMERCIAL DESIGN
BY- NEHA ASSUDANI
B.SC. INTERIOR DESIGN
+ 2 YEAR DIPLOMA

Interior Design
PORTFOLIO
2015-16
Commercial Design
Retail
Hospitality
Office

Project Report
On
Commercial Design
At
Dezyne E’cole College,
Ajmer
Submitted To
Dezyne E’cole College
Towards The
Partial Fulfillment Of
Bachelor Of Science In Interior Design
By
Neha Assudani
106/10, Civil Lines, Ajmer
Tel – 0145 – 2624679
Www.Dezyneecole.Com
2015 - 16
TM

ACKNOWLEDGMENT
I, Neha Assudani, student of Dezyne E’cole College, am extremely grateful to each and
every individual who has contributed in successful completion of my project.
I express my gratitude towards Dezyne E’cole College for their guidance and constant
supervision as well as for providing the necessary information and support regarding
the completion of project.
I than to Almighty for providing me with everything that I required for completing this
project.
I would like to thank all the faculty members of Dezyne E’cole for their critical advice
and guidance without which this project would not have been possible.
I would like to express my special gratitude towards my parents and friends who have
been constant source of inspiration for me during this project.

106/10, Civil Lines
Ajmer – 305001, Rajasthan
This Project Report Of Ms. Neha Assudani student of Bachelor of Science
in Interior Design of One Year Diploma in Commercial Design has been
checked and has been graded as
Thanking You
Principal
(seal & signature)
TM

SYNOPSIS
Commercial design involves the designing of spaces that serves the business purpose.
The main motive of these spaces is to sell the products or services as much as
possible.
During the tenure of 2nd year Commercial Design Diploma programme I studied about
various different commercial spaces like Retail Stores, Restaurant Design, Office
Spaces etc.
Commercial design includes everything from small retail spaces to malls, small
saloons to higher end boutiques, healthcare clubs to gyms, roadside dhabas to the
higher end a-la-carte restaurants.
Commercial interior spaces have various features like LEED certification, Sustainable
Designs, Security and safety of spaces, Licensing, Ethics in profession and Professional
Growth.
While studying about Retail Design I learnt that the Retail Spaces are divided into
three parts. Exterior Presentation, Window Display and Interior Presentation of Store.
Exterior presentation means how a store visually welcomes a client. The Exterior
Presentation includes the Store Name, Store Sign, Marquee, Landscaping, Awnings,
Banners, walks and Entries etc. This means the name of the store should be easily
visible and readable, Marquee helps to locate business from distance, Landscaping
attracts the clientele, Awnings protect the people etc.
Window displays play a very important role as it is through which the customers gets
attracted. People love to do window shopping. A person connects his lifestyle with the
products he/she sees in the window display. A product is only sold when it is seen by
the clientele and attracts him/her to that extent that he/she decides to buy.
I learnt that the person only enters the space when the Window Display of the store
attracts him/her. The Window Display either depicts some story, concept or theme
that attracts the clientele and increases the footfall for the store.
Along with this the Interior Presentation of the store also plays a significant role. It
includes the type of plan incorporated for the store, the space planning of the store,
proper Transition Space, no Butt-Brush effect should be there, display of merchandise
in the store, the room temperature of store should be maintained, pleasing and
complementing background music, the fragrance for the different departments,
proper lighting of the store to attract the customers. I also learnt that the customer
uses his five senses to buy any product. The five senses are touch, taste, smell, see,
hear.

For working on Retail Design Project I considered all the points so that I can give the
best outcome to my client. In the given case study I was suppose to do the space
planning and designing for the furniture store of brand STANLEY.
The space provided was 57’3” x 37’1”. The major requirements were to display the
collection series, 2-3 bedroom sets, 3,2,1 seater sofas etc.
I did the space planning for whole store in which I incorporated Straight Plan and did
the designing of the four cubicles of the store as it was not possible for me to design
the whole store.
The next I learnt was the Restaurant Design. Restaurants are the spaces which serves
the purpose of eating very well. It is a place where preparing and serving of food is
done in exchange of money.
They play essential role in Business, Social and Intellectual life. Restaurants are the
places where people meet their friends and families being away from their busy lifes.
Restaurants have great ambience, nice music along with good food. Restaurants are
of different types like roadside dhabas, a-la-carte restaurants, fast food outlets, self
service, third places like coffee shops, ice-cream parlors, juice centers etc.
For doing the space planning of a Restaurant we have to follow the space
considerations like, volume and type of service, suitable traffic aisle, type of
equipment to be used etc.
We also have to see how much sq.ft. space per seat requires for different type of
operations.
The number of seats given in the dining area are also to be paid attention to. They
are calculated by the formula R=N/T where R is rate of people leaving serving area, N
is the number of seats in a dining area and T is the average time required for eating.
I learnt that the diagonal seating arrangements are better because they require less
space. Along with this the Turnover Rate is also important, it is estimating the
average time a seat is occupied.
After learning about the Restaurants I was given a case study in which I was suppose
to do the space planning and designing of the space. The space provided was 46’x
50’.
The first thing I did was the SWOT Analysis of the Restaurants in Ajmer so that I can
give the best outcome to my client. During the SWOT Analysis I also found the loop
holes that restaurants in Ajmer were having.
For working on any project a designer needs an Inspiration. I took the inspiration
from Geometry as it is present all around us. I incorporated all the above points in the
space planning of restaurant.

I did the designing part for 2 walls as it was not possible to design the whole
restaurant. As my inspiration was Geometry. I studied about various styles that were
having geometry like the Islamic Style, Moroccan Style, Chinese Style, Japanese Style
etc. I was most fascinated with Moroccan Style and thus I worked with the Moroccan
Style for my Restaurant.
Moroccan Style features beautiful architecture, ranging from royal arches to modern
buildings. It got influenced from Islamic Style. This style features beautiful archways
and curved doors, along with delicate metal work, carving or color. Other key features
were courtyards, bold colors, ornate furniture, textiles, lanterns, metal works, tiles
etc. along with this I did the Product Designing for 2 furnitures of my restaurant they
were the Reception Desk and the Bar Counter Table.
After this I learnt about the Office Spaces. They focus on the public and private areas
utilized by corporate and professional service firms. It is said that the office design is
back bone of Commercial Interior Design.
The project on Office Design is still in the making.

Neha Assudani
PROFILE
I As An Interior Designer Wanted To Achieve Good
Position In My Life. To Achieve My Goals Dezyne E’cole
Helped Me In Developing My Skills And Knowledge
And Made Me Industry Ready As Per Today’s Era.
As Designer I Believe In Eye For Detail. I Keep
Watching Things Around Me And Believe That
Everything That Exists Has Design In It In Some Or The
Other Way And All This Inspires Me To Design More.
Interior Designer
Experience
• Residential Project
-- Residential Space Planning And Designing
-- Elements Of Style
-- Wardrobe Design
-- Multi Functional Product Design
• Commercial Design
-- Retail Outlet’s Space Planning And Designing
-- Restaurant’s Space Planning And Designing
• Participated In Identity Exhibition
EDUCATION
• Bachelor Of Science In Interior Design – Dezyne
E’cole College, Ajmer [2014 – 2017]
• 12th Cbse Board – St. Stephen’s Senior Secondary
School, Ajmer [2013 – 2014]
• 10th Cbse Board – St. Stephen’s Senior Secondary
School, Ajmer [2011 – 2012]
Professional Skills:-
• GOOGLE SKETCHUP
• AUTOCAD
• AUTODESK 3DS MAX
• MICROSOFT POWERPOINT
• MICROSOFT WORD
Languages Known
• ENGLISH
• HINDI
Personal Skills:-
• HARDWORKING
• LEADERSHIP QUALITY
Phone Details:-
09829024839
0145-2624679
Email ID:-
dezyneecole@gmail.com
neha.assudani1728@gmail.com

 Introduction- Interior Design
contents
 Introduction- Commercial
Design
 Types Of Commercial Design
 Introduction- Retail Design
• Types Of Retail Design
• Customer Behavior
• Exterior Presentation
• Window Display
• Interior Presentation
 Case Study- Retail Design
 Introduction- Restaurant
Design
• Space Requirements And
Considerations
 Case Study- Restaurant
Design

contents
• Site Considerations
 Study On Restaurants In
Ajmer
 Inspiration- Geometry
 Architectural Layouts
 Design Development
 Introduction- Office Design
 Conclusion
 Bibliography
 Assignments
 Print Making

INTRODUCTION - INTERIOR DESIGN
Interior Design is the process of shaping the experience of Interior space, through the
manipulation of spatial volume as well as surface treatment. It is a profession that
includes design development, conceptual development, management of project and
execution of design along with the communication skills.
Interior Design is much more than about “ What looks right”. It is about giving a space
that the occupants enjoy and love to inhabit. It is about finding and creating a
cohesive answer to set of problems and dressing the solution so as to unify and
strengthen our experience of the space.
Good Interior Design adds a new dimension to the space. Thoughtful and good
design makes the space easier too understand and experiencing such space lifts the
spirit too.
It is a profession totally different from decorator. People usually have misconception
that interior design is same as decoration.
But designing is an art and science of understanding client’s behavior to create a
more functional space. He works from the beginning.
Interior Designer studies about the Orientation of space, Daylighting, ventilation,
HVAC, Lighting, Landscape etc. whereas decoration is furnishing of space with
beautiful things or accessories.
Interior Design provides various career opportunities as it is a vast field. In the study
course it deals with various topics like space planning, anthropometrics, drafting,
study of materials etc.
Interior Design is an interdependent profession. Interior Designer works with
architects, landscape designer, product and furniture designer, event managers etc.
They use expertise of other professionals for their work such as environmental
engineers, furnishing experts, textile designers, painters etc.

Interior Design is not just a job. It is a profession, a career, a lifestyle. To practice it
successfully it is important to have a clear idea of what interior design includes. It is
much more than just the aesthetics.
Interior design is a multi faceted profession in which creative and technical solutions
are applied within a structure to achieve a built interior environment solves the
customers problems and link space to business strategies and goals. These solutions
are functional , enhance the quality of life and culture of the occupants and are
aesthetically attractive
It is something that includes a space of service performed by a professional design
practitioner qualified by means of education, experience and examination, to protect
and enhance the life, wealth, safety and welfare of the public.

INTRODUCTION - COMMERCIAL DESIGN
Commercial Interior Design deals with designing the public spaces such as office
buildings, museums, hotels, stores, warehouses, community centers, libraries etc.
We usually interact with Commercial spaces everyday, say it from studying for a test at
the library or stopping at a fast food restaurant for a quick lunch. Perhaps we
sometime visit a shopping center or join a friend at a health club.
Designing Commercial Interior involves designing the interior of any facility that
serves business purposes. Facilities that fall under the category of Commercial Interior
Design includes business that invites the public in.
The design of commercial interior is complex and challenging.
Commercial Interior Design requires a thorough understanding of an organization's :-
-- Workspace Culture
-- Branding
-- Work Practices
-- Contact with the public
In Commercial Design the designer has to create an environment that includes
aesthetics and functions to make it a successful hit.
Here the Interior Designers work includes selecting paint colors, choosing the artwork,
accounting for acoustics and lighting, selecting appropriate furniture, and placing all
these together in the most appropriate manner.
Commercial Interior Designer will involve much more than decorating. It will include
the choice of building materials, the placement of interior walls, plumbing and power
systems, coordinating communication etc..
This level of Interior Designer requires to have the solid working knowledge of
architecture as well as sense for creating functional and attractive settings with the
space.

NEED
It is important to understand the business specialty even before seeking projects in
that specialty.
An advantage of understanding the client’s business is that the interior design will be
more functional.
One issue that is expected is the customer of business. Different design decisions will
be made if a restaurant’s customers are neighborhood residents, tourists or business
executives.
The type of work conducted in a business also varies with the nature of the business.
The work done in a coffee shop that only sells coffee products and bakery goods is
very different from that of a full service, higher end restaurant.
The work of designer begins with the understanding the business which means
understanding the purpose and goal of a business along with the type of facility to be
provided.

Corporate and
Executive Offices
Healthcare Facilities
Hospitality and
Entertainment
Facilities
Retail/Merchandising
Facilities
Transportation
Facilities/Methods
Institutional
Facilities
Industrial Facilities
Types of Commercial Design

TYPES OF COMMERCIAL DESIGN
1. Corporate and Executive Offices
• Professional offices
• Financial institutions
• Law firms
• Accounting firms
• Real estate firms
• Travel agencies
2. Healthcare Facilities
• Hospitals
• Surgery centers
• Psychiatric facilities
• Rehabilitation facilities
• Medical labs
• Veterinary clinics
3. Hospitality and Entertainment Facilities
• Hotels, motels, and resorts
• Restaurants
• Health clubs and spas
• Sports complexes
• Theaters
• Museums
4. Retail/Merchandising Facilities
• Department stores
• Malls and shopping centers
• Specialized retail stores
• Showrooms
• Galleries
5. Institutional Facilities
• Government offices and
facilities
• Schools—all levels
• Day-care centers
• Religious facilities
• Prisons
6. Industrial Facilities
• Manufacturing areas
• Training areas in industrial
buildings
• Research and development
laboratories
7. Transportation Facilities/Methods
• Airports
• Bus and train terminals
• Tour ships
• Yachts

RETAIL SPACES
Retail Design and store planning concentrates on retail venues, including boutiques,
department stores, outlets, showrooms, food retailing centers, and shopping malls.
Gaining experience and knowledge about retailing will be an advantage for us in
designing any kind of retail space
People love to look, window shop, and buy. Shopping as an experience should provide
fun which in turn provides profits. A successful store or shop is one that is designed to
merchandise in addition to looking good. Designing a store includes the study of the
interior as well as exterior & window display. For a retail store, it is mainly the exterior
which provokes customers to buy.
How a retail store visually welcomes a customer has to do a lot with whether or not
they enter a store.
1. Store sign 2. Marquee 3. Banners 4. Awnings 5.
Window display
6. Props & signage's and many more.
All these points play an important role in designing a retail store.
.

DESIGN
Design is a fundamental soul of man-made creation.
Design is the only thing that differentiates one product from another in the market
place.
Design is an intangible value to product.
.

RETAIL
Retail is the process of selling
consumer goods and/or services to
customers through multiple
channels of distribution to earn a
profit.
It is one of the largest sector of
business in the world.
.

TYPES OF RETAIL SPACES
 Specialty Store:- It carries narrow product line, they can be apparel store,
florist and book store having a deep assortment within the line.
.
• Super Market:- It’s a large, low cost, low margin, high volume, self service
operation. They have been designed to serve the consumers total needs for food
laundry and household maintenance.
.

 Departmental Store:- It carries several product line, clothing , home
furnishing and household goods. Each department over here is managed by a
specialized buyer or a merchandiser.
.
 Hyper Market:- These are even larger. It contains supermarket, discount
store, ware house along the other stores.

 Super Store :- Combination of Hyper Market and super store’s average 35000
sq.ft of selling space. They have the total needs of the consumer. They offer
services like shoe repairing, dry cleaning, lunch counters etc. combination store is
a diversification of super market with drug and prescription store.
.
 Off Price Retailers:- They are ordinary discounters who sell at wholesale
price.

 Discount Store:- A discount store sells standard merchandise at a lower
price by accepting lower margins of profit.
.
 Convenience Stores:- These are located near to the residential areas and
are opened seven days a week for long hours and they are relatively small store.

RETAIL DESIGN
Retail design has become an important aspect for any retail company because it can
make a big difference when it comes about sales and profits.
Any retail space must be specially designed to draw people into the space to shop by
taking into account the kind of product being sold in that space
Is A complex study which incorporates the management of people and space with the
ability to respond to retail’s most important characteristics CHANGE…
.

HOW DO CUSTOMER BUY..??
A consumer connects his lifestyle with a product he/she sees in the window display
than only the consumer is attached towards the store.
80% of our impressions are created by sight and that is why “one picture is worth a
thousand words”.
Buying is a Psychological Process which includes use of senses and the senses are
 Sight
 Sound
 Smell
 Touch
 Taste
People shop or buy a product only after analyzing it. They use their senses to select
any product.
.

CONCEPTS HOW A CUSTOMER BUY..??
 Traditional Concept:- This was the common way of buying. Customer doesn’t
have the facility to touch, feel or examine the product. Customer used to stand
outside the shop and what they need, they used to ask the shopkeeper to give
them.
.
 Modern Concept:- Nowadays, people buy those things which they can feel,
touch or examine, they have the proper knowledge of the product. Customers
like to move in the store and feels the space.
.

HOW DO CUSTOMER LOCATE BUSINESS..??
 Before considering all the points of retail design the major decision a store has to
make is the location. The location of the business outlet plays a significant role
on its performance.
 Along with the location of a store, Road marks and road signs are helpful in
locating a business to customers. They should be attractive and should be
different the competitors road signs.
 They should be visible from the distance and should be well illuminated so that
the customer can locate, radium's are the best form for illuminating the road
signs for making it visible.
 The most important is the exterior sign of a store ”a sign is a silent
salesperson” and a part of shoppers first impression of a store.
 Name of the store has to be bold, simple, large, easy to read, well designed and
should convey a feeling of welcome.
.

A STORE IS DIVIDED INTO VARIOUS PARTS:-
 Exterior Presentation
 Window Display
 Interior Presentation
 Visual Merchandising
 Entrance
 Circulation

EXTERIOR PRESENTATION
How a store visually welcomes customer has a lot to do with whether or not they
enter the store.
Although good prices and positive word of mouth, advertising is important, it is hard
to overcome the negative image of a poor store exterior.
Exterior Presentation of retail store includes:-
 Store Sign
 Store Name
 Marquee
 Banners
 Awnings
 Walks and Entries
 Landscaping

A sign is a silent sales person and a part of shoppers first impression of a store. In
less than 10 seconds the sign must attract attention and tell who the business is and
what it has to sell off premise.
Signs provide information and direction specially for travelers ad new residents. Sign
can also help communicate a poor location. A sign design conveys a great deal about
the business inside. A stark design(simple) and limited material suggest discount price
and no frills shop. Elegant and expensive sign material may suggest luxury goods and
services.
When preparing a sign do not forget to consider size, shape, material, lettering,
height, placements and structure. The stores sign is its signature.
The lettering should be large enough to read from 200 feet, which is the distance
required to stop a car travelling 40Kms/ hour.
Signs with 8 inch letters can be read from a distance upto 250feet. A car travelling
55Kms/ hour need about 400feet to stop, so our design will require 12 inches
lettering sign to be read at that distance.
Signs should be used to target a specific market segment such as youth, women,
senior citizens, singles etc.
When you have several rectangular sign in close proximity to each other, construct an
oval or circular sign that stands out. Consider the signs relationship with its
surroundings.
Simple, well designed, easy to read signs convey a feeling of welcome.
Focus on one or two key words to describe business.
 EXTERIOR OR STORE SIGN

Name of the store has to be bold, simple, large, easy to read, well designed and
should convey a feeling of welcome. The height of the letter of the sign should be
minimum 8 inches. The name should have self illumination. The proper optical space
should be given in the name of the store otherwise customer will not be able to read.
Three types of fascia sign are:-
 Painted
 Fret-cut in metal
 STORE NAME
 Illuminated Box

A special type of sign to display the name of the store. It can be sometimes a kind of
permanent canopy at the entrance or on top of the building to promote the
showcasing of season display, an effective marquee must stand out from other
businesses to attract attention.
 MARQUEE

Banners are used increasingly as an inexpensive eye catching means of promotion.
Banners can be hung from flat poles or projected from the building. This leads to
making the consumer feel that change are taking place.
 BANNERS

The window awnings provide the customer with protection from weather and makes
viewing of the window display more pleasant as it reduces heat, cuts down on glare
and reflection and prevents fading of merchandise from exposure to the sun. it adds
appeal to the window display. May businesses use black lit awning, electrical awnings.
A variety of styles of awnings are available square, long dome etc. the fabric of canopy
is vinyl it can be translucent/ transparent.
 AWNINGS

75% of the first time customer remember the store front. It provides the first and the
last view of the stores interior. Picture walking along the wall where the flat surface is
plain glass door, as opposed to the protective feeling offered by walking under a
porch or canopy. Entrances that allows shoppers to come into a store without being
aware of their entry is becoming more popular . Whenever we add an entry way it
should be designed to blend with the architecture of building.
 WALKS AND ENTRIES

Landscaping should lead the customers eye to the focal point using color and texture
to provide contrast and harmony. The focal point is the business sign and the building
itself. Landscape screens the undesirable sight such as power transformer,
refrigeration equipment's, garbage areas etc. The essence of good landscaping is
simplicity that means the designs that are easy to maintain. A proper landscaping
increases the acoustics of a place. Use benches for resting and relaxing in the
landscape done in front of the retail outlet, this encourages the customer to stay
longer.
 LANDSCAPING

WINDOW DISPLAY
The window display’s main task is to communicate to potential customers the essence
of the interior and to display a glimpse of what can be found on the other side of the
glass. The shop front is a draw to buyers to make them feel comfortable when
approaching the store and venturing over the threshold.
 It is a major factor often overlooked in the success or failure of a retail
store.
 Attractive product display highlight the display and the focus of the
merchandise increases.
 By a pleasant room temperature, attractive general lighting and nice
fragrance, along with suitable background music increases the purchase
decision.
 Shop Windows are regularly updated i.e. within 15 days to show the latest
products in the store.
.Points to be followed here are:-
 Principles of design
 Color and Lighting
 Influence of background color on Merchandise
 Color Rules that can improve Display
 Colors to be used for displaying Merchandise
 Props, fixtures & signage – floor covering, wall treatment,
background & backdrop, mannequins, shelves & steps
 Non-merchandise props- Desks, tables, chairs, shopping bags,
pencil, pen, paper

 PRINCIPLES OF DESIGN
To execute a display to sell merchandise, it is necessary to have a working knowledge
of the principles of design. The primary principles of design used in display include
balance, proportion, rhythm, emphasis, color, lighting and harmony. When applied
appropriately all parts of the display are pulled together to create a purposeful,
effective and aesthetically pleasing presentation. An understanding of these principles
will make it easier to design a display for all types of merchandise.
The Principles Of Design are:-
PRINCIPLES
BALANCE
EMPHASIS
PROPORTION
RHYTHM
HARMONY

BALANCE
Two types of Balance are:-
 Symmetrical or Traditional Balance
 Informal or Asymmetrical Balance
Symmetrical or Traditional Balance
Traditional or Symmetrical balance is large on one side and large on other side.
This is effective where expensive and quality merchandise is being presented

Informal or asymmetrical Balance
 Informal or asymmetrical balance creates flow of rhythm and feeling of
excitement.
 The two sides of display appear to be equal in weight, but they are not replicas
of each other.
 Something large can be balanced by several small objects or an expanse of empty
space, a bright color or a shot of lights.
 Several soft colors in a large space can be balanced by one bright color because
of the intensity of bright color will compensate for its small size.

EMPHASIS
It is the point of initial eye contact. From this spot all other eye movements flow.
There should be emphasis in all the displays. This can be by virtue of focal point’s size,
color or position.
Whenever emphasis is to be created it recedes an impact when thin, fuzzy lines,
irregular shapes, regular spacing between the objects, cool colors, dull intensities,
medium tints and shades, dull and opaque texture, small and over all patterns, even
light absorption reduces the impact of the show window.
Eye movement is from left to right

 Triangle is the strongest shape in design as it has the best load bearing capacity.
 Circle attracts the attention at the center
Size difference and eye movement from small to large and left to right.
The focal point is the small square. The eye movement is from the square to
the space below the dashed line.

PROPORTION
It is the ratio of the parts to the whole display. It is a comparative relationship of
distances, sizes, amounts, degrees or parts. Each piece of merchandise must be
considered in relationship to all the other merchandise.
The blocks in the pyramid are all in proportion to each other. If not in
proportion. Then people have trouble looking at it.
The size of these steps are also in proportion.

 Do not use all large objects, break monotony and sameness of large feeling.
 Use odd numbers in display.
 Add small objects of odd number, but related with large pieces create interest and
Balance.
 Ratio of merchandise to space is critical:-
i. Each piece of merchandise must be considered in relation to other.
ii. The ratio of props and show card of merchandise must be in proportion to avoid
appearance of stress or selling your props rather than your merchandise.
iii. Each object should not be too large or too small nor too heavy or too light in
proportion of other items in display.
iv. Proportion and contrast work wonders and same is with color and texture. A
pair of baby shoes is seen next to a big teddy bear.
Proportion is also important when repetition is used in a display.

RHYTHM
It is the ratio of the parts to the whole display. It is a comparative relationship of
distances, sizes, amounts, degrees or parts. Each piece of merchandise must be
considered in relationship to all the other merchandise.
 It has an organized movement.
 It has self contained movement from object to object, Background to foreground
and side to side.
.
The size of these steps are also in proportion.

 It should lead the viewers eye from dominant object to subordinate object or
from primary presentation of the grouping down to the arrangement of
accessories or alternate parts of display.
 Repetition gives impact to the arrangement.
 English reading people read from left to right. So we should create the display left
to right
 Use elements that mean something together and relate to the merchandise.
 Create a pattern through the use of high and dark either with color or light.
 Overlapping of objects placed together in the display area can prevent the blank
space that could exist with an even number of items in the display.
Progression of Size

 Overlapping is good method of creating good flow. It is used for displaying odd
numbers of display.
 Use fabric or color that unifies the theme.
Radiation
Flow is created by a continuous line movement
created by the placement of the items in the
display.

HARMONY
It is a coordinating UMBRELLA principle that can cover and incorporate every other
principle.
Harmony is agreement in feeling and consistency in mood; ,the feeling that all parts of
display relate to each other and to the whole display.
Without harmony, the observer is uncomfortable and will not be enticed to purchase
merchandise.
Types of Harmony:-
• Structural Harmony:- It is correctly fitting all the pieces ; merchandise should
be out of place in the display.
• Functional Harmony:- It deals with how something works physically , which
means it must be realistic and must work. An example is kitchen counter used in
a display that is the appropriate
• Decorative Harmony:- It includes the part of display that are included only for
decorative purposes. These items are attractive and add to the theme.

“Light Catches Our Attention And Lead Our Eyes”
 A shopper’s eye is drawn automatically to the brightest item or area, we need to
pay attention that the lighting used outside should be 2-5 times stronger than the
lighting used inside the store
 If the object is of warm color warm light will be used
 If the object is of cool color, cool light will be used.
 COLOR AND LIGHTING

 INFLUENCE OF BACKGROUND COLOR ON MERCHANDISE
Color of
Merchandise
YELLOW Enhanced in
Richness
RED
BLUE
GREEN
ORANGE
PURPLE
White
Background
Lightly Duller Warmer Brighter
Far More
Brilliant
Darker, Purer
Bright but Less
Intense
Brighter but
Loses
Saturation
More
Luminous
Paler and
Sharpened
Luminous
Loses Strength
and Brilliancy
Richer and
Darker
Deepens in
Value
Darker and
Redder
Darker
A Little More
Luminous
Lighter And
Yellowish
Lighter And
Yellowish
Brighter, Grey
becomes
Greenish
Black
Background
Brighter
Increases
Brilliancy
Increases
Brilliancy
Grey becomes
Green
Beige
Background
Grey
Background

 If colors are too bright than they will overwhelm pastels.
 Several soft colors in a large space can be balanced by one bright color because
the intensity of bright color will compensate for its small size.
 Pastel color object will not be seen with bold color object.
 If yellow color is used with white then white will not be seen because yellow has
high frequency.
 Small objects are seen in front of a bigger object. But if the bigger object is of
bold color then small objects will not be seen.
 COLOR RULES THAT CAN IMPROVE DISPLAY

 Leather goods:- A comfortable background color choice for leather goods in the
mid value range such as beige or grey. This is the colors used and works well too
for intimate apparel and ready to wear.
 Infant and Toddler:- Green should be avoided, light colors such as pink, yellow,
blue and whites should not be used as background colors in the infant and
toddler area as they are the colors used in the merchandise sol. The small size of
garments and the generally light tones make the merchandise invisible. Brighter,
sharper colors help these pastels stand out.
 Girls and Boys Merchandise:- Background colors for girls merchandise should
be neutral because of the extensive range of color there. Boys department go
with bright colors because the clothes tend to bright or deep tones.
 Brass Goods:- Browns and burgundies are great for displaying brass goods. Gift
areas can use black and white with bright accents.
 Hardware Store:- Bright orange, bright red and blue are appropriate colors to
select for hardware stores as they provide best contrast with the wood handles
and metals of hardware.
 Sporting Goods:- Sky blue and tennis court green enhance sporting goods and
equipments because of their outdoor associations.
 Junior Department:- It utilize various color background depending on current
fashion vogue. When neon colors are fashionable, white is suitable background
but when subtle colors are in fashion, white is too cold and overpowering.
 Men's Wear:- Dark green or dark blue colors used with neutral as accent is
effective for men’s wear areas. Primary, secondary, peach, light blue and green
colors should be avoided.
 Grocery:- Stores that carry china and glass can effectively use grey, browns and
blue background. Browns work especially well with bone china and blues are
attractive with porcelain, grey can be used with either of china. Silver should not
be shown on brown background because reflection will make silver appear
tarnished.
 COLORS TO BE USED FOR DISPLAYING MERCHANDISE

INTERIOR PRESENTATION
It requires particular attention in specialty shops. Types range from displays of staple
goods which assist customers in selection, to displays of accessories which the sale of
staples may suggest to the customer. Problems of arrangement regarding to
merchandise, departments and routes of customers approach are involved.
Experienced sales people can tell at a glance the customer who is satisfied with
shopping and too bewildered to buy. After he has been refreshed by a brief rest, the
customer’s interest can be recaptured quickly. Such relaxation may be mental or
physical, or both.
Interior Presentation of retail store includes:-
 Store Layout (Plan)
 How to organize store space
 Selling Area
 Point of Sales
 Transition Zone
 Butt-Brush Effect
 Chevroning
 Seating Area
 Dressing Rooms
 Sounds And Smell
 Floor
 Wall
 Ceiling
 We need to make the important element placed at the right side.

Store layout needs to guide the customer silently about where he/she wants to go
and for exposing him/her to the entire store offering.
The store itself is the most meaningful communication between the retailer and
customer.
The store layout should entice customers to move around the store to purchase more
merchandise than they may have originally planned.
For any store design there are six basic plan types
1. Straight Plan
2. Pathway Plan
3. Diagonal Plan
4. Curved Plan
5. Varied Plan
6. Geometric Plan
 TYPE OF PLAN (STORE LAYOUT)

 Straight Plan:-This is the conventional form of layout that utilizes walls and
projections to create smaller spaces. It is very economical plan to execute and
can be adapted for any store. The merchandise here pulls the customer to the
back of the store.
 Pathway Plan:- It pulls patter in through the store to the rear. It generally made
for large stores which are 5000sq. Ft. or more and on one level. In between the
path there are no fixtures or any interruption, this path can take any shape and
can create any design pattern. The designer can use the floor or the ceiling for
directional elements.

 Diagonal Plan:- It permits angular traffic flow and creates perimeter design
interest and excitement in movement. Central placement of cash-wrap permits
security and vision. Mainly used for self service stores.
 Curved Plan:- For boutiques, salons and high quality store. This creates an
inviting and special environment also costs more in creation. People respond to
circular and curved shapes. They soften the angular square plan.

 Varied Plan:-This plan has ”bellows effect”. For products that require back up
merchandise to be adjacent(shoes and men’s shirts). The varied plan is highly
functional. It is a variation of straight plan where the square footage for keeping
boxes can be done along the perimeter of the shop. Varied Plan illustrates added
variety of forms which can work to a designer’s advantage.
 Geometric Plan:-This plan can establish interest without excessive cost. Ceiling
and floors can be lowered or raised to create departments and zones.

The store needs to be designed that it permits the store keeper to keep a close check
on profit or losses from various types of goods. It becomes easy for handling,
controlling and wrapping stock and at the same time training sales people(toilet,
changing room, control room).
 HOW TO ORGANIZE STORE SPACE

Point of sales mark the end of the journey around the store and is the point at which
a customer will pay for goods.
 POINT OF SALES

Transition zone is the zone where a customer pause, sense, feels and experience the
space. The transition zone should be maximum 10’x10’. For a small store where space
is at a premium, the goal is to keep transition zone as small as possible.
.
 TRANZITION ZONE

Each customer has an area of personal space. This is an area that when invaded
causes customer to feel uncomfortable. When the shopper is bumped while looking
at merchandise, they may become uncomfortable, lose interest and leave the area.
Creating maneuvering room for customers eliminates the butt-brush effect. More
maneuvering room extends time, customers spend in the store and enhances the
ability of purchasing.
 BUTT-BRUSH EFFECT

The key to having customers purchase items is their ability to locate items in the
store. We should maximize customer’s view of the merchandise by chevroning.
Chevroning involves ”placing shelves or racks at an angle”, instead of shelves
being placed at the traditional ninety degree angle to the aisle. The outcome of
chevroning is that shelves are located at 45 degrees.
 CHEVRONING

Shopping tends to be a social activity . People like to shop with others , these
shopping partners need a place to rest. If shopping partners have a place to sit, most
likely they will not complain and shopping can continue for longer time. Seating
should be provided by the dressing rooms.
 SEATING AREA

Many retailers want to maximize the non-selling areas(storage) of their stores. Some
apparel retailers make mistakes of assuming that a dressing room is a non-selling
area whereas dressing room is the location where most apparel decisions are made.
It needs lights, wall hooks, mirrors should be large, it must be clearly marked so that a
customer can easily locate it.
 DRESSING ROOMS

Sounds and smells can influence consumer purchasing decisions. Many stores diffuse
artificial fragrances through their heating and air-conditioning vents or place scent
machines above their doors. It was found that aroma increased the number of
customers purchasing items and amount of their purchases. It was found when
subjected to loud music, customers will spend less time in a store. Customers shop
longer when exposed to unfamiliar music
 SOUND AN SMELL
“THE LONGER THE RETAILER CAN KEEP A CUSTOMER IN THEIR
STORE, THE MORE THE CUSTOMER WILL BUY”.

Floors come in a variety of materials and finishes, but the key to a retail floor is
durability. The expected lifespan of a floor finish can be anything from one years to 20
years depending on the retailer’s needs. The floor finish is used to define different
areas within the store. Walkways, display areas and point of sale may all have
different finishes within the same scheme.
 FLOOR

Walls are one of the most important elements in the retail environment. They support
the bulking structurally, but they can be used to display vast amounts of products,
create feature displays and have color, texture and pattern applied to them in
different finishes. Walls act as a divider between product offers or areas, as a piece of
sculpture in its own right, or to add focus to a space.
 WALL

The ceiling plays a huge role in the feel of the entire retail space. It is the architectural
element that goes mostly unnoticed, but it is incredibly functional. The ceiling have
light fittings, air- conditioning ducts, fire alarms and sometimes music speakers.
 CEILING

VISUAL MERCHANDISING
Visual Merchandising or Visual Display is a major factor often overlooked in the
success or failure of a retail store. It encourages impulse buying by the customer.
It helps in creating a positive image of a business and results in interest and attention,
so also desire and action on the part of the customer 80% of our impressions are
created by sight and that is why one picture is worth a thousand words.
Each customer has a mental image of the store and its merchandise. Some businesses
maintain minimum staff to reduce cost which means we need to pay more
importance to the merchandise display so that it makes the customer easy to find and
purchase.
.

CIRCULATION
Circulation diagrams are produced as ways of thinking and describing different
schemes to the client.
The circulation performs two main tasks:-
• To allow for the flow of people in the form of walkways. These must be wide
enough for at least two peoples to pass each other comfortably, whether walking
or on a wheelchair, or pushing a pram.
• To take the customer to the merchandise and allow them ample space to browse
without bumping into other people or displays.

• HORIZONTALLY
• VERTICALLY
• SPINE – LEAD
• CIRCULAR
• LOOOP
• ZIG-ZAG
• FREE FLOW
.
 CIRCULATION CAN WORK
The principles of circulation are quite simple and are governed by the ways in which
people move around the space. Circulation an work horizontally, allowing the
customer access through the shop front, with products displayed either side of the
walkway and with an exit at the back, or vertically with merchandise displayed over
more than one floor. This scheme is more complicated in the sense that stairs, lifts
and escalators need to be negotiated, and methods for enticing people on to the
upper floors must be considered. Circulation in a zig-zag or figure-of-eight fashion
across the store allows for points of interest to be included and creates a longer
journey and a variety of ways to travel around the space. The circular pattern takes
customer from the front to the back and then to the front again.
 PRINCIPLE OF CIRCULATION

ENTRANCE
The design of a entrance to a store is very important. It needs to entice the customers
in and gives a glimpse of products beyond the threshold. Entrances are that allow
shoppers to come into a store without being aware of their entry.
Once beyond the threshold, the entrance space is the starting point of the interior
journey. It is an area of the store that is often left open and spacious, giving the
customer time to pause and take in the store environment and to make way for
people entering and existing the store comfortably. In larger stores, it is a place to
meet friends before or after shopping, sometimes with seating areas on the sides out
of the main flow of traffic.

 TRADITIONAL ENTRANCE
.
 TYPE OF ENTRANCE
• Façade of Building
• Symmetry
• Modest Graphics
• Standard Fonts and Colors
• Mannequins
Traditional Entrance:- The design of traditional shop front has a sense of symmetry
and is set out in proportion to the existing buildings elevation. In some instances a
standard front, text size and color may be specified as well as the type of signage.
Signage may have to be painted onto the fascia. There is a framing done on the show
windows. Dark colours were used in traditional shop front.

 CONTEMPORARY ENTRANCE
.
• Frameless
• Transparency
• Graphic Language
• Live Colors
• Story Telling & Scenography
Contemporary Entrance:- it focuses on allowing light and visual access right into the
store from the street. The look is clean with glazing reaching from floor to fascia panel
or sometimes with the fascia situated inside the glass sat in a brushed stainless steel
frame. Contemporary show windows are frameless , depicts transparency, graphic
language, live colors are used and a story or a scene is depicted through it.

• Exterior façade, logo
• Threshold, transition
• Shop windows
• Transparency
• Interaction
• Mystery, posters
• Display

 FAÇADE ENTRANCE
 Entrance of a store plays a significant role.
 It needs to entice a customer in and give the glimpse of the products.
 People enter the stores which are without the doors and guards.
 They don’t even realize when they entered the store.
 Customers hesitate before entering a shop with the door front and the security
guards standing at the entrance..

 OPEN AND SPACIOUS AREA
 The entrance space area has to be left open and spacious at least space of
10’X10’ is left.
 Giving customer time to pause and take in the store’s environment and to make
way for customers entering and exiting the store comfortably.

 TRANSPARENCY
 Customers are able to see across the window displays to the store behind.
 Allowing the transparency and interaction.

 MYSTERY
 Blocked displays creates the mystery in customer’s mind.
 It brings the customer’s main focus to the display.

 DISPLAY
 Display plays a vital role. It encourages impulse buying by the customer. It helps in
creating a positive image of a business and results in interest and attention.

After studying about the RETAIL.
A case study was assigned to me for retail shop design in which
I was suppose to design a store for the brand STANLEY.
In the subsequent slides you will come across the case study
given and the process of planning and designing a retail store.

CASE STUDY
I am suppose to design a store for a leading furniture and interior finishes brand
STANLEY.
The space has to reflect the brand positioning, the range of products and brand
image. The space has to be given due justice to the various sub categories of products,
the space and the décor has to be modular and the space should have the ability to
transform, move around and be utilized as per the product need.
All services for the space should keep this in mind while being designed. Retail design
is an ever evolving field that has to be able to relate the end user. The end user comes
from various strata's and the store should be welcoming to all.
Pillar
The floor space of 57’3”x37’1” of the shop.
Wall
Glass

CASE STUDY
The 2,109 sq. mts. Floor space is located on the ground floor of a premium mall in the
upcoming suburbs of Pune. The façade and the store frontage are of prime importance
to the client. The building is on a corner plot surrounded by two roads north and east
side. The store is inside the mall and has no show window or external view.
DESIGN BRIEF
The Office Generally Consists Of A Near Rectangular Space With Floor To Ceiling Height
Of 4,000mm.
No Additional Window Opening Are Permitted On The External Walls.
No Changes To The Façade. Door Location Cannot Be Changed.
Liberty To Propose New Flooring And Revised Toilet Arrangements If Required, Keeping
In Mind Location Of The External Supply And Drainage Pipes On North Wall.
No Structural Changes And Alterations To External Walls Are Permitted.
SITE CONDITIONS

CASE STUDY
• Cashier And Help Desk Station
• Customer Interaction Area
• Sofa Set Display 3/2/1
• Display Of Two To 3 Bedroom Sets
• Display Of 25 Sofas (Should Comprise The Varied Range That Stanley Offers)
• Wardrobes
• Collection series
REQUIREMENTS
• Air conditioning : chilled water tap provided by the developer. AHU to be
located as per site requirement.
• Electrical : tap off provided by the developer at the premise. Installations keeping
in mind proper retail illumination levels, trunking, networking, connectivity,
internet and prevalent green norms.
• The Budget : for the project cannot exceed Rs. 20,00,000 and the execution work
is to be completed within 45 days. The students are expected to work on the
block costing.
COST/ SERVICES TO BE CONSIDERED

CASE STUDY
Your design presentations should include the following and should drafted in the scale
1:100
• Layout plan
• Flooring plan
• Ceiling plan with all services shown
• Elevations min 4
• Two 3D views showing the store in totality
DESIGN DRAWING EXPECTATIONS
1. The exact size of the furniture needs to be plotted that are available on the
Stanley website in there different collections.
2. Full height storages must be provided for certain equipment that is kept for
moment of furniture within the store.
3. As the showroom is in a mall, the mall has given a point where the main cable for
this shop is given. From here the internal electrical works should be done.
4. It is expected that students will work out an interior design appropriate to the
changing face to the international retail, which will sustain for many years, and is
reflective of company’s image.
5. Please note: material board to have digital images with the details given of each
materials used including manufacturer/code/specification and physical samples
and models will be disallowed.
IMPORTANT

STANLEY FURNITURE
Stanley Furniture was founded in 1924 by Thomas B. Stanley, a farmer-turned-
industrialist, who later became Governor of the Commonwealth of Virginia.
Since 1924, Stanley Furniture has built a reputation as one of the most respected and
recognized names in the home furnishing industry, with quality, stylish, affordable
furniture offered in a array of colors, materials, finishes and layouts, with durability
that keeps your furniture looking new for generations.
Stanley Furniture products feature fashionable designs and artisanal finishes, styles
from all major categories. Stanley offers a wide selection of furniture for the entire
home, including dining, bedroom, home office, home entertainment, and accent
items.

To design any store for retail space we need to understand it is
like a “carte blanche” (blank document) and to design it in a
proper manner we need to understand certain aspects which
are enumerated below:-

METHOD OF SOLVING
We have to divide the case study into 2 parts:-
Exterior
+
Window Display
Interior
Case Study

The further pages will describe the Brainstorming and Idea
generation, the points that I have incorporated in my design
development from the above points, the interior of my design.
For the given case study I have done the space planning of the
store. And the design development of 2 power display in the
place of window display and 2 cubicles out of 9 cubicles.

After this step of brainstorming, I did space planning for the
space and made a complete plan with the elevations In the
subsequent pages you will come across the planning and
elevation layouts of the store.

INTRODUCTION TO RESTAURANT DESIGN
Eating has always been a sociable event and restaurant serves this purpose very well.
Restaurant is a business of preparing & serving food in exchange of money.
Restaurants have always played an essential role in the business, social and intellectual
life of today’s society. It provides a perfect location for all celebrations or social
gatherings.
Restaurants can be of self service, road-side dhaba, A-La-Carte and the third places like
the coffee shops, juice centers, ice-cream parlors and many more.
These different types of restaurants may vary with their working but their purpose is
same i.e., serving people so that they can take out time from their hectic lives & spend
a quality time.
People enjoy sitting down in a nice comfortable and pleasant surrounding of a
restaurant and dinning on good quality food, leaving behind the hustle and bustle of
daily life.
Restaurants have always been a place where people spend leisure time & money. As
living has gotten more hectic, with so much of interest and money riding on food, it is
extremely important for a restaurant to develop new trends that positively impact
customers.

RESTAURANT DESIGN
For designing the interiors of a restaurant, we have to study the space requirements.
Adequacy of the space will influence building and operating costs and efficiency and
decisions pertaining to space allowance may be strongly affected by the limitations of
investment funds and available space.
Space allowance in relation to investment should be balanced in terms of :
• Proposed permanence of the facility.
• Acuteness of need for the specific operation.
• Essentials for operating efficiency.
• Desirable standards in terms of appearance, sanitation & good quality of
production and service.
• Immediate & future costs, depreciation, upkeep and maintenance.
Studies made before the building is planned as to how space may be added and how
the initial plan should be designed to minimize ultimate cost will be helpful.
It is well to block out space allowances according to functions that the facility is to
perform.
Calculate area requirements in terms of :
• Volume & type of service
• Amount & size of equipment to be used.
• Number of workers required.
• Space for needed supplies.
• Suitable traffic area.
The dining area location & space allowance are usually determined first, the
production areas next in terms of specific relationship to the dining area & the other
section as required to these.

Collage for
hospitality spaces

SPACE REQUIREMENTS FOR DINING AREA
Space for dining area is usually based on the number of square feet per person seated
times the number of persons seated at one time
For example - Small children may require only 8sq. Ft.
- Adult would need 12 sq. Ft. For the same.
• A banquet seating allowance might be as little as 10sq.ft./Seat & for deluxe
restaurant 20 sq.ft.
• The diners comfort should govern allowance. Both young and old enjoy having
sufficient elbow room.
• Crowding is distasteful to many people, it is likely to be tolerated more readily by
youngsters then adults.
• Service stations may be estimated in the proportion of a small one for every 20
seats or a large central one for every 50-60 places.
TYPE OF OPERATION SQ FT / SEAT
Cafeteria, commercial 16-18
Cafeteria, college & industrial 12-15
Cafeteria, school lunchroom 9-12
College residence, table service 12-15
Counter service 18-20
Table service, hotel, club restaurant 15-18
Table service, minimum eating 11-14
Banquet minimum 10-11
Table 1 – Square feet per seat used for various types of food operation

SERVING AREAS
• Space allowances for serving areas should be adapted to the needs of the specific
facility. The menu, organization of work, and the number served will influence size.
The type of service will also be influential in dictating space needed.
• Serving areas for most table service facilities are planned as a part of the main
cooking area.
• Ideal design results when the flow of people from the serving facility is balanced
with the seating available in the dining room.
• At equilibrium conditions, the number of seats provided in the dining area has a
direct relationship to the number of people leaving the serving line for a given
average eating time.
• The relationship can be expressed by the equation :
R = N/T
R = rate of people leaving serving area
N = number of seats in dining area, and
T = average eating time

Fig. 2 – Flow diagram showing functional relationships
Employee
dining
Refrigerator
& frozen
storage
Employee
facilities
Linen and
paper
storage
Common
storage
Vegetable
preparation
Ventilated
storage
Cleaning
supplies
Garbage
pick up
Car and
truck
washing
Janitor
closet
Time
recorder
Bake shop
Fountain
service
Cook’s
unit
Meat
preparation
Salad &
sandwich
unit
Pot & pan
washing
& storage
Dishwashing
Short order
Servingarea
Diningroom
andcatering
Manager’s
office
Guest
facilities

SPACE REQUIREMENTS
 When space is too small, labor time and efforts are likely to increase and the
volume and quality of output decrease. When it is too large, building and
maintenance costs are excessive.
 Ample space is sometimes provided by means of low-cost materials and
equipment of such inferior quality that they have short and unsatisfactory
service life.
 Space allowances in relation to investment should be balanced in terms of:
-- proposed permanence of the facility
-- acuteness of need for the specific operation
-- essential for operating efficiency
-- desirable standards in terms of appearance, sanitation and good
quality of production and service
-- immediate and future costs, depreciation, upkeep and maintenance
 Requirements will vary for facilities of a given type and volume.
 Production and storage requirements will be affected by location; type of
operation; clientele; frequency of deliveries of supplies; kind of food used, such
as fresh, frozen, or canned; and the completeness of processing to be done. The
policies of those in charge will have an influence. Certain general information
such as numbers to be served turnover, arrival rate, and type of service will be
helpful in deciding dining area needs.
 Area requirements are calculated in terms of:-
-- volume and type of service
-- amount and size of equipment to be used
-- number of workers required
-- space for needed supplies
-- suitable traffic area
 The dining area location and space allowances are usually determined first, the
production areas next in terms of specific relationship to the dining area, and the
other sections are required to these.

 I have planned according to the dimensions of Tie Savers Standards. all
dimensions are pertaining to the standards. The dimensions will change if the
person changes.
 The patron’s size and the type and quality of service should be considered. Small
children may require only 8 square feet for a type of service in which an adult
would need 12 square feet for comfort. A banquet seating allowance might be as
little as 10square feet per seat and that for a deluxe restaurant as much as 20
square feet.
 The diner’s comfort should govern allowance. Crowding is distasteful to many
people.
 Place settings for adults usually allow 24 inches and for children 18 to 20 inches.
 Service stations may be estimated in the proportion of one small one for every 20
seats or a large central one for every 50 to 60 places.
 All of the areas in a dining room used for purposes other than seating are a part
of the square footage allowed for seating. This does not include waiting area,
guest facilities, cloakrooms, and other similar areas. Excessive loss or use of space
for other than seating in the dining area will however, increase the needs.
 Small substations for silver, dishes, napery, beverages, ice, butter, and condiments
may measure 20 to 24 inches square and 36 to 38 inches high.
 It is important that the table be of adequate size to accommodate the number of
trays likely to be there. Four trays 14 by 18 inches fit better on a table 30 inches
by 48 inches than on a table 42 inches square. Small tables, such as 24 or 30
inches square are economical for seating but are uncomfortable for large people.
They are suitable in crowded areas with fast turnover and light meals.
 Tables for booths are difficult for waitresses to serve if they are longer than 4 feet.
 The maximum area best served by one waitress is generally 16 feet of counter.
This will give 8 to 10 seats.

 A minimum passage area is 18 inches between chairs and, including chair area,
tables should be spaced 4 to 5 feet apart.
 Diagonal arrangement of square tables utilizes space better than square
arrangement and yields a more trouble-free traffic lane.
Table size influence patron’s comfort & efficient utilization of space and the best
utilization of space can often be arrived at through the use of Diagonal Arrangement
than square arrangement and yields a more traffic-free lane.
Fig- 1. Rectangular and diagonal arrangement of tables.
‘NUMBER OF PERSONS’ ALLOWANCE
The number of persons to be seated at one time is the second point of information
needed for calculation of the dinning room size
(Total no. of seats required x (Space required for each seat) = Total number of Sq.ft
needed in at 1 time) Dining Area.

TYPE SHAPE MINIMUM
SIZE(in.)
SPACIOUS (in.)
Table for 1’s or 2’s Square
Rectangle
Round
24 x 24
24 x 30
30
30 x 30
30 x 36
36
Table for 3’s or 4’s Square
Rectangle
Round
30 x 30
30 x 42
36
42 x 42
36 x 48
48
Table for 5’s or 6’s Rectangle
Round
30 x 60
48
42 x 72
60
Drop leaf tables 30 x 30 in. opening to 42 in. round
36 x 36 in. opening to 52 in. round
Table 2 - Typical sizes and shapes of dining tables
Number of Person’s allowances:-
 The number of times a seat is occupied during a given period is commonly
referred to as “turnover”.
 The turnover time is speed up 10 percent b patrons removing their soiled dishes
so that the tables are quickly available for other guests.
 Deluxe service for leisure dining, involving removal and placement of several
courses, takes the longest time.
 The calculation of occupancy of seats in a dining room must take into
consideration a certain percentage of vacancy, except where a given number are
seated at one time according to assignment. In table-service dining rooms this has
been estimated as 20 percent of total capacity, in cafeterias from 12 to 18
percent, and for counter operations 10-12 percent.

The utilization of seating capacity tends to be greater for cafeterias than for table
service. The patron may spend 25 to 50 percent of the time while seated at the table
waiting for service. The cafeteria diner may begin eating as soon as he is seated. One
cafeteria line can serve 4 to 8 patrons per minute depending on:-
• Speed of the servers
• The elaborateness of food selection
• Convenience of the layout
• Type of patrons
Commercial restaurants located in shopping or office areas often have a heavier
demand at noon than at the dinner hour.
Kitchens serving a smaller number require a larger square footage per meal than
those serving a larger number.
The turnover is determined by estimating the average time a seat is occupied for the
time period desired. For example, if the turnover is to be expressed on a per-hour
basis and the average estimated time the seat is occupied is 20 minutes, the turnover
rate is three. If the average seat occupancy time is 30 minutes, then the turnover rate
is two per hour. Determining the turnover rate per meal period is useful for
determining the total seating capacity based on estimated sales volume.
Turnover rates are affected by the method of serving and serving time as well as by
the type of customer, menu offerings and the dining atmosphere. Typical turnover
rates for some types of food- service operations are given in table;-
TYPE OF OPERATION TURNOVER RATE
(per hour)
Commercial Cafeteria 1 ½ - 2 ½
Industrial or School Cafeterias 2 - 3
Counter Service 2 – 3 ½
Leisurely Table Service ½ - 1
Regular Table Service 1 – 2 ½

Turnover rates can be increased to some extent by many design and operational
factors. This is not to suggest that all facilities should be designed for high turnover
rates. However, if high turnover is one of the basic objectives, then the planner and
subsequent manager can do the following to accomplish this:
• Use menu items that require short processing times, or use pre-dominantly
preprocessed items.
• Provide ample production space and equipment to handle the peak periods.
• Use well-lighted and light-colored painted areas for serving and dining.
• Arrange dining tables in close proximity to each other.
• Develop a somewhat uncomfortable dining seat design.
• Provide sufficient service personnel so guests are served promptly after they are
seated
• Provide for prompt clearing of the tables when a customer is finished with a
course or the entire meal.
• Make sure guest checks are presented to customers as soon as they are finished
eating.

After studying in detail about the restaurants, I was given a case
study to design a restaurant.
In the subsequent slides you will come across the case study
given and the process of planning and designing a restaurant.

CASE STUDY
You are supposed to do space planning and create a restaurant for serving a multi-
cuisine.
As a designer you need to create a floor plan for this restaurant which needs to
feature Reception, food serving area, toilet facilities and satellite kitchen.
You need to provide location and give spaces for food receivables, storage, main
kitchen, dishwashing, pot and pan washing, garbage, maintenance department for
this restaurant. You also need to provide security and the time machine, staff parking
zone, restrooms with toilets and sleeping facilities.
The recruitment division, the remuneration and training division i.e. the HR
Department.
You need to specify the space for car parking of clients and the views on landscape
provided by you for this restaurant.

MAP OF INDIA
India lies on the Indian Plate, the northern portion of the Indo- Australian plate,
whose continental crust forms the Indian subcontinent. The country is situated North
of the Equator between 8⁰4’ and 37⁰6’North latitude and 68⁰7’ and 97⁰25’ east
longitude. It is the seventh largest country in the world, with the total area of
3,287,263 square kilometers.
The whole India has a tropical monsoon climate, since the greater part of the country
lies within the tropics.

MAP OF RAJASTHAN
• Location of Rajasthan in India is “north-west” direction.
• Longitude of Rajasthan 69⁰29’ and 78⁰17’ East
• Latitude of Rajasthan 23⁰30’ and 30⁰11’ North
• The climate of Rajasthan is generally hot and dry
• The hottest season summer extends from April to June. The temperature in this
season ranges from 32⁰C to 45⁰C
• Extending from December to March is the winter season the temperature ranges
from 10⁰C to 27⁰C

MAP OF AJMER
• Ajmer has a typical desert climate and hot and arid with over 55 cms of rain every
year.
• Temperature remains relatively high throughout the year, with summers having
maximum temperature near 40⁰C and minimum is 28⁰C
• The winters are chilly with minimum temperature 5⁰C
• Longitude- 74⁰42’North
• Latitude- 26⁰27’ East

ORIENTATION
In every plan orientation is must to be paid attention to i.e. the directions East, West,
North, South. We check the orientation of a site by placing a compass in the center of
a plot. If the building is properly oriented the each part of the building is well lighted
up and has proper ventilation. This reduces the use of artificial lighting in the
buildings.
With the help of orientation we can decide where to place the windows and doors in
our plan and can decide the place for the reception desk, waiting area and the dining
area etc. orientation plays a significant role in planning of a space.
Orientation of my plot is EAST facing.
NORTH
SOUTH
WEST EAST
WINTER SUN
SUMMER SUN
INTENSE SUN
Preferred Zone
For Building
Orientation
Acceptable
QUADRANT Of
Windows
orientation
TOTAL SHADE

SITE SELECTION AND ANALYSIS
Location of the site, site analysis, site and its surrounding are first undertaken.
Site analysis is the process of surveying or studying the existing environment and how
it will influence, the structural design and layout of the site. Site analysis must be
completed first before design development.
Residential Zone
Rajasthan
Food Plaza
Proposed SitePlot PlotPlot

ACCESSIBILITY TO THE SITE
The main entrance and the main road abutting the site is very important for any kind
of project.
Residential Zone
Proposed Site Plot
Rajasthan
Food Plaza Plot
Entrance of my site is East facing

Major Landmarks Connecting Site
The connectivity to main roads and other sub roads:-
The distance from major landmarks such as:-
Railway Station – 3.4 Kms
Bus Stand – 3.3 Kms
Dargah Sharif – 3.5 Kms
Pushkar – 13 Kms
Shopping Centers (Bioscope) – 450 m
Hospital (Get Well) – 400 m
Dimension of site – 46’x 50’
Area of site – 2300 sq.ft.

MACROCLIMATE
Macro climate is the climate of a large geographic areas such as geographic zones,
continents and oceans or large parts or even the entire Earth. It deals with main
climatic features of the areas.
Macro climate are characterized by quantitative indexes that refer to the entire area
being considered that is, intervals with which particular climatic characteristics change
throughout the area or their average values for the entire area. The macro climate is
contrasted with local climate and micro climate.
To control macro climate is not in the hands of the designer.

MICRO CLIMATE
A micro climate is a local set of atmospheric conditions that differ from those of the
surrounding area.
It is the climate of a small, specific place within a large area.
Setting and site layout followed by landscaping can improve the micro climate around
the building, taking advantage of existing topographical feature, adjacent buildings and
vegetation for solar protections. Good site layout can also take greater advantage of
local breezes by formation of air funnels and also aid natural ventilation by staggering
of the building layout. The presence of water and vegetation of the site can also be
used for natural cooling. Good site layout can reduce loads appreciably by optimizing
natural solar protection and local breezes.
Micro climate depends upon the shades, sunlight, wind at a particular space.
Element of site design that can be used for controlling the micro climate of hospitality
space and for efficient natural cooling are landscaping around the building, orientation
to sun and wind, building shape, cavity walls construction, water bodies, natural
ventilation and the proper selection of materials for the spaces are the best ways of
controlling a micro climate of space.

RESTAURANTS IN AJMER
What are Restaurants and Why people go??
Restaurant is a place where people come to spend some quality time with their loved
ones. They come to the Restaurants so that they can get relaxed of their busy
schedules and can get some quality time for themselves and their family members in
addition to resolve their need for food, thus the place has to be comfortable, lively
etc.
It is a place where different types of cuisines and beverages are served to the diners.
Restaurants can be of many types self service, a-la-carte table service, Dhabas, fast
food outlets, third places etc. Some restaurants serve all the major meals of the day
(i.e. breakfast, lunch, dinner) while other may only serve single meal or may serve two
meals.
Earlier it was believed that going out to a restaurant for eating meal was considered to
be a luxury but nowadays people just need a small reason to eat out. Some of the
reasons are:-
 People just want to celebrate the each and every occasion whether small or big.
 People believe in meeting people outside as there is already a perfect
environment set.
 During the time of travelling people just don’t have any other option but to eat
out.
 As nowadays all the family members are working and earning, people prefer to
go out for their meals because eating out gives them a chance to get a break of
their busy schedules.

During the tenure of my study program I was given a
Hospitality Design project, I was suppose to design a
restaurant in Ajmer. But before starting up with the space
planning and designing the given project I did a SWOT analysis
of restaurants in Ajmer, so that I can give the best outcome to
Ajmer

SWOT ANALYSIS
Strength:- Historical monuments and places like Dargah Sharif, Pushkar, Soniji ki
nasiyan, FoySagar Lake, Akbar’s fort and Museum, Anasagr Lake, Adhai din ka Jhopda
etc. makes the Ajmer a tourist destination. Many tourists from other states and
countries come to visit these historical places. These historical places are the strength
of Ajmer to attract tourists.
Weakness:- as being the one of the important tourist destination of Rajasthan, Ajmer
doesn’t have any such food joint where tourist can enjoy themselves and spend
money.
Food joints doesn't have lively environment. Most of the restaurants in Ajmer are
either in basement or on the top floors which are not in sight and because of this they
doesn't earn well and prove the Hindi saying “dikhega to bikega” right. Basic
parameters like cleanliness and neatness are the essentials to be paid attention to.
Seating arrangements of restaurants in Ajmer is not proper. Restaurants here doesn't
have the outreaching view which people love to see when dining. Restaurants in
Ajmer doesn't have the proper parking space, nor they pay attention to the promotion
activities. Sometimes the quality of food and service also becomes the weakness of
restaurants.
.Opportunities:- as Ajmer being a tourist destination gives the biggest opportunity to
grab for designing a restaurant. Tourist visiting have money and want to spend it but
Ajmer doesn't have a space which is lively and where they can enjoy.
Threats:- Ajmer doesn't have any such restaurants which can act as a threat for any
other restaurant.

20 loop Holes
20 loop holes of Ajmer's restaurants are:-
 Sometimes the crockery used for serving the diners is broken.
 No proper lighting is there in the restaurant either the intensity is too dim or too
high.
 There is no outreaching view in the restaurants here everything is packed.
 Landscaping is not given in any of the restaurants in Ajmer.
 Food outlets here are out of sight i.e. either they are in basements or on the top
floors.
 Utensils in which food and water is served to diners are not properly clean.
 Overall cleanliness of restaurants is also not considered.
 Restaurants in Ajmer doesn’t have the Étagère's for keeping necessary items.
 Ambience is also not considered.
 Designs of Ajmer's restaurants are not the Universal designs.
 The design of restaurant is not as per the food served inside a restaurant.
 Cutlery in which the food is served is not complementing the cuisine served.
 The drapery used is not proper, sometimes it has stains.
 Sitting arrangement of the dining area is not proper.
 Sometimes the condiments served are not kept properly.
 There is no proper parking space outside the restaurants
 Place is not lively.
 Sometimes the quality and service of food is not upto the mark.
 Tables doesn’t have proper traffic aisle for movement..
 Wrong music selection as sometimes loud music is played which customers
doesn’t like.
 Location selected for restaurants is inappropriate.

During The Study Programme I Learnt About Various Styles Like
Japanese Style, Chinese Style, Moroccan Style, Contemporary
Style, Islamic Style etc.

JAPANESESTYLE
MOROCCANSTYLE
CHINESESTYLE
ISLAMICSTYLE

I found one thing common in all these Styles that was
GEOMETRY. This fascinated me to study more about it and I
took it as my INSPIRATION for Hospitality Design Project.
In The Subsequent Pages Of My Project You Will Come Across
The Brief Study Of Geometry Done By Me For My Project.

GEOMETRY
Geometry is a part of mathematics that includes the shapes, size, 3D forms and
properties of space. Geometry is a Greek word that means “measurement of Earth”. It
started with the need to measure the shapes and forms.
Geometry is traced from the ancient times say it the Indus valley civilization or the
Egyptian civilization. The pyramids of Egypt are the great example of geometry in that
era.
History says it were Egyptians who started working with Geometry, but some says it
were Babylonians, and it is true that they were the one who started working with
geometry but on smaller parameters.
But it were the Greek geometers who worked with geometry on wider parameters
and developed the principle of modern geometry. Some of them were Thales, he was
the one who brought geometry to Greece from Egypt. The Pythagoras, he contributed
the Pythagorean theorem to geometry and Euclid, he is considered as the “Father of
modern geometry”. Everything we see in the universe is based on geometry it can be
the sacred geometry, golden ratio, golden rectangle, Fibonacci series or golden spiral.
Pythagoras was the first who introduced the sacred geometry which is defined as the
working with numbers and geometric principles of creation. It shows how everything
in universe is connected. Fibonacci series given by Leonardo de Vinci is based on
golden ratio, it is the ratio of proportion which is aesthetically pleasing to the eyes.
The ratio of proportion is 1:1.618.

The painting of Mona Lisa by Leonardo de Vinci is based on golden ratio. The painting
of a Vitruvian man by Vitruvius is completely based on ideal proportion of human
body. The architectural work in which we can have the glimpse of golden ratio are Taj
Mahal, Toronto’s CN tower, the Parthenon etc.
The working with geometry can be seen in many countries and time periods some of
them which are very famous are:- The origami of Japan, the dress form of Japan, the
jaali work of china, the pagoda’s of China, the motifs of Islamic architecture, the inlay
work of Islam, the art deco style, the Moroccan time period etc. all of them have
geometry.
Geometry is used in engineering, architecture and designing as it provides application
of mathematical ideas to construction.
Geometry plays a significant role in Interior Design for determining the proportion
and placement of the objects that are aesthetically pleasing, geometry helps the
designer to decide how much paint is required. Designing and devising a space
requires spatial reasoning and arrangement of forms using geometric shapes. Designer
or Architecture are said to be working with the sacred geometry when they choose
geometric forms to work with for creating a pleasing and functional space or a golden
ratio i.e. the ratio that describes the ideal proportion of the space.
When I found that everything around me is having geometry in some or the other way
like trees, buildings, flowers, human body etc. This fascinated me in Geometry and I
included it in my hospitality design project.

In the subsequent pages you will find how circles can be used in
myriad ways to create geometrical shapes and patterns:-

From All The Styles That Are Having Geometry In It Moroccan
Style Fascinated Me The Most. And Because Of This I Worked
With Moroccan Style For My Restaurant Design Project.

Architectural layout
Architectural Layouts

CirculationCirculation demarcates the access ways to the various areas or zones of a
space.

Flooring Layout
Flooring design is important as much as ceiling or wall design. In the
subsequent slides you will come across with the flooring patterns which I
have made by considering Moroccan style motifs.

DESIGN PROCESS
Design means “to create”. Before designing anything, we have to follow certain
process that is the design Process. It consists mainly of four steps which are- Analysis,
Implement, Development and Evaluation. The building blocks of any design are the
Elements Of Design and Principles Of Design. To create a good design the elements
and principles of design should go hand in hand . The Elements of Design consists of
line, shape, form, the color and texture. The Principles of Design are mainly five:
Balance, Proportion, Rhythm, Emphasis and Unity. Apart from these there are several
other principles to be followed like Harmony, Contrast, Rule of Thirds, etc.
In my design I have worked with the Moroccan Style for my Restaurant Design where
I have taken vital mood with Analogous Color Scheme. In my first wall composition I
worked with the designing of a Dining Area. The main emphasis was on the wall paper
in the Moroccan Arch of perspective view which was creating the mystery of depth.
The wall sconces were given on both the side of the arch so that the balance can be
followed. The overall aura is following the principle of harmony and unity.
The second wall composition is of the aura of Bar Counter area following the principle
of repetition in the battens. The main emphasis is on the lighting structure that is
repeated following the pattern. The table is having geometry as hexagons are used in
it. Overall the aura is having principle of unity and harmony. You will see the design
boards in the further pages of my portfolio.

Inspirati
on
-GEOMETRY
Geometryisapartofmathematicsthatincludes
theshapes,size,3Dformsandpropertiesofspace.
GeometryisaGreekwordthatmeans
“measurementofEarth”.Itstartedwiththeneedto
measuretheshapesandforms.
Glimpseofgeometryisseeneverywhereeg-
nature,humanbody,architectureetc.
Theworkingwithgeometrycanbeseeninmany
countriesandtimeperiodssomeofthemwhichare
veryfamousare:-TheorigamiofJapan,thedress
formofJapan,thejaaliworkofchina,thepagoda’s
ofChina,themotifsofIslamicarchitecture,the
inlayworkofIslam,theartdecostyle,the
Moroccantimeperiodetc.allofthemhave
geometry.

Style
Moroccan
Moroccanarchitectureisbeautiful,
rangingfromroyalarchestomodern
buildingslitupwithneonlightsat
night.MoroccanStylegotinfluence
fromtheIslamicArchitecture.
Thisstylefeaturesbeautifularchways
andcurveddoorwaysalongwith
delicatemetalwork,carvingorcolor.
Otherkeyfeatureswerecourtyards,
boldcolors,ornatefurniture,textiles,
tiles,lanterns,metalworksetc.

MoodBoardVitalVitalityandenthusiasmarebest
promotedindesignbyusingthehue
vermillionoranyofitsmanytintsand
shades.Byusingcolorcombinations
withthisred-orangehueatthecenter,
afeelingofwarmthandvigorcaneasily
becreated.Thesecombinationsare
youthfuladplayful.
OrangeTango
X113
OrangeAppeal
7949
Polka
7869
RichChocolate
8645
RavenSong
8253
MirageWhite
8276
IcedSilver
8236

WallBoard
Composition1
MoroccanStyle
Thiswallcomposition
showingtheauraofadining
spaceiscreatedintheareaof
11’1.5”x7’4”usingthe
featuresofMoroccanStyle.
Thecompositionshowsthe
archcreatedonwallwiththe
wallpaperfixedcreatingthe
mysteryofdepthinsideit.
MoroccanStylemotif’sJaali
workusedastheframingofthe
arch.
Size-10’(L)x6’(W)
Thickness–1”
SizeofsingleFlowerofmotif-1’
Material–Woodpolishedwith
Copper
Company-
Customizedpaintingprinted
onfabricplacedinsidearch.
Size-9’6”(L)x5’6”(W)
Company-Marshalls
Wallpaper
MoroccanStylearch
customized.
Size-8’6”(L)x4’6”(W)
ThicknessofFrame–2”
Material–Wood
Company-LocalMarket

WallBoard
Composition2
MoroccanStyle
WoodBattensusedatback.
Thickness–2”
Material–Wood
Company-MerinoLaminaes
Boxesmadeofblockboard
tokeepChampaignbottles.
Size-1’4”(L)x1’(W)
Material–Wood
Company-Customized
ArtificialPlantersand
Creepersused.
Size-8’6”(L)x4’6”(W)
Material–Wood
Company-LocalMarket
Thiswallcomposition
showingtheauraofaBar
Counteriscreatedinthe
spaceof9’x7’excludingthe
barstools.Thiscomposition
featurestheinspirationof
GeometryintheBarCounter
asitismadeplacingthe
Hexagonsrandomly.

MoroccanStyle
Flooring
Board
BelarusBlanco
Finish-Matt
Company-Kajaria
Size-2’x2’and1’6”x1’6”

MoroccanStyle
Ceiling
Board
Thiswoodwillbeusedforthe
battens.
CompanyName-Merino
Laminates
DesignName-Tan
Colour/Texture-Brown
SizeofBatten–9’(L)x1’(W)x
1”(H)
SimpleCeilingIn
thispartofDining
Texture-Matt

Accessories
Board
MoroccanStyle
ChampaignBottlesusedas
accessoryonbattens
Material–Artificial
Company-LocalMarket
Size-8’6”(L)x4’6”(W)
Material–Glass
Company-LocalMarket
ArtificialPlantersand
Creepersused.
MoroccanStylemotif’sJaaliwork
usedastheframingofthearch.
Thickness–1”
SizeofsingleFlowerofmotif-1’
Material–Woodpolishedwith
Copper
Company-
Customizedpaintingprintedon
fabricplacedinsidearch.
Size-9’6”(L)x5’6”(W)
Material–Silk
Company-MarshallsWallpaper
MoroccanStylearchcustomized.
Size-8’6”(L)x4’6”(W)
Material–Wood
Company-LocalMarket

Lighting
Board
MoroccanStyle
Therearemanytypeoflightsthat
canbeusedforacommercialspace.
Tocreateaambienceforthatplace.
ThesearethelightsthatIusedinmy
2WallCompositionstoenhancethe
lookofmyRestaurantSpace.
TCG702CeilingLight
Color/finish–Nickelfinish,
sandblastedglass,steel
Dimensions(mm)–360x360x96
Company-Philips
AVIO
GTH40
Trackmountedprojector
WideBeam
Company-Wipro
LogamMoraccanFiligree
HangingPendantLight
Color–Gold
Material-Iron
Dimensions(in)–8x8x58.5
Company-Pepperfry
SylvnStudioLuminusWall
Sconce
Color–Gold
Material-Metal
Dimensions(in)–8x4x10.5
Company-Pepperfry
FosLightingPatterned
Color–Brass
Material–BrassandGlass
Dimensions(in)–6x6x21
Company-Pepperfry

Texture
Board
Composition1
MoroccanStyle
JaaliWorkAroundAn
Arch
Material–Wood
polishedwithCopper
Texture-
Customizedpainting
printedonWallpaper
Texture-
ArchonWall
Material–Wood
Texture-
Polka-7869
Texture-Matt
MoroccanStyleWall
Sconce
Material–
MoroccanStyle
PendantLight
Material–Iron
Texture-
BelarusBlanco
Material–Tile
Texture-Matt
CorralDining
Material–StainlessSteel,
TemperedGlass
Texture-
MoroccanStylePrint
onUpholsteryof
DiningAreaChairs.
Colour-OrangeTango

Texture
Board
Composition2
MoroccanStyle
AntiqueFinish
PendantLight
Texture-
ChampaignBottlesin
FrontofBattens
Material–Glass
Texture-
BelarusBlanco
Material–Tile
Texture-Matt
BarCounterTop
Material–ToughenGlass
Texture-
BarCounterTable
Material–OnyxStone
Texture-
WoodenBattens
Material–Wood
Texture-Matt

Furniture
Board
MoroccanStyle
ThecustomizedBarCounterTable.
OnyxStoneUsedFor
Hexagons
Company-Starline
MineralsLlp
Specifications(1
Hexagon)-1’(H)and6”
eachside
ToughenGlassusedforTable
Top.
Company-SaiGlassCompany
Price-160Rs.Persq.ft.
Specifications-7’2”x2’
Thickness-15mm
AccentChair
Color-OrangeTango
Material-Upholstered,Wood
Size-29.5”(H)x24.5”(W)x
20.5”(L)
Company-Overstock
CorralFourSeaterDining
Color-Brown
Material-StainlessSteelLegs,
TemperedGlassTableTop
Size-30”(H)x35”(W)x35”(D)
Company-HomeTown

OFFICE DESIGN
Office design focuses on the public and private areas utilized by corporate and
professional service firms.
Commercial office design requires knowledge of high-tech equipment's, as well as
understanding of management & office production. In general, offices are designed for
large group of people working together in a cooperative and productive way. The
space must accommodate many different discipline with varying needs.
It can be argued that the office design is the backbone of commercial interior design.
Almost all interior design firms design office facilities because most commercial
interiors includes some sort of office space.

CONCLUSION
During the working of these projects I learnt a lot about the
design development, how to inbuilt the Elements and Principles
of Design, color schemes in our design. These projects overall
taught me how to increase the aesthetics of a space and how to
increase the earning for a commercial space with the help of
designing.

BIBLIOGRAPHY
 Building Construction By Sushil Kumar
 Time Savers Standard
 Color Harmony
 Inside Outside Magazine
 Society Interiors magazine

Neha Assudani portfolio, B.Sc-Interior Design+ 2 years Diploma,Dezyne E'cole College

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Neha Assudani portfolio, B.Sc-Interior Design+ 2 years Diploma,Dezyne E'cole College