The Psychology Behind Why Some Homes Feel Good But Most Don’t: Interior Design Principles Explained

Though it may have enjoyed occa­sion­al waves of pop-cul­tur­al pres­tige over the years, inte­ri­or design remains an over­looked art. That is to say, few both­er to appre­ci­ate, or even to notice, its sim­i­lar­i­ties with oth­er, more “seri­ous” forms of human endeav­or. Watch the recent Five by Nine video above, and even if you’ve felt rea­son­ably con­tent with wher­ev­er your own couch, chairs, and tables have come to rest up until now, you’ll soon find your­self con­sid­er­ing which prin­ci­ples of inte­ri­or design you’ve always been unknow­ing­ly vio­lat­ing. For our eyes “read” a room just as it would a para­graph, or even a paint­ing, and they sense instinc­tive­ly if some­thing’s wrong — or, worse, if too much is right.

One com­mon ama­teur mis­take is to arrange rooms so that “every­thing lives on one sin­gle hor­i­zon­tal band that starts at the floor and ends around two and a half feet up.” With all the fur­ni­ture on more or less a sin­gle lev­el, your eye “has no rea­son to trav­el upward or into the cor­ners,” and thus per­ceives a strange­ly flat­tened space.

“Plac­ing visu­al inter­est at vary­ing alti­tudes” cre­ates a more com­plex visu­al path, which con­vinces the brain it’s in a more expan­sive (or indeed expen­sive) space. Mount­ing cur­tain rods well above the win­dow frame also goes a long way toward cre­at­ing this same over­all effect. The use of ver­ti­cal lines in gen­er­al, in the form of book­cas­es, wall tex­tures, or any­thing else, cre­ates more “visu­al run­ways for your eyes.”

On the hor­i­zon­tal plane, few mis­takes could be as wide­ly com­mit­ted as push­ing a sofa up against the wall. Pro­fes­sion­al design­ers pre­fer to “float” their fur­ni­ture, leav­ing “a gap that hints at hid­den depth.” To bet­ter under­stand this phe­nom­e­non, con­sid­er how land­scape painters tend clear­ly to sep­a­rate the fore­ground, the mid­dle ground, and the back­ground: with the mid­dle ground of the sofa flush against the back­ground of the wall, “the brain learns to read them as a sin­gle flat plane.” Sep­a­ra­tion intro­duces defin­ing shad­ows, a medi­um that can yield much greater results if manip­u­lat­ed with lamps and oth­er forms of direc­tion­al light­ing, as opposed to over­head fix­tures that flood the space with uni­form light. Giv­en the near-uni­ver­sal­i­ty of against-the-wall sofas and flu­o­res­cent light­ing cranked up to the max in Seoul, where I live, a Kore­an ver­sion of this video could­n’t come out too soon.

Relat­ed Con­tent:

Frank Gehry Designed His Own Home, and What It Teach­es About Cre­ative Risk

Nev­er Too Small: Archi­tects Give Tours of Tiny Homes in Paris, Mel­bourne, Milan, Hong Kong & Beyond

Vis­it the Homes That Great Archi­tects Designed for Them­selves: Frank Lloyd Wright, Le Cor­busier, Wal­ter Gropius & Frank Gehry

The Tiny Trans­form­ing Apart­ment: 8 Rooms in 420 Square Feet

Edgar Allan Poe Offers Inte­ri­or Design Advice and Blasts Amer­i­can Aris­to­crats in “The Phi­los­o­phy of Fur­ni­ture” (1840)

After a Tour of Slavoj Žižek’s Pad, You’ll Nev­er See Inte­ri­or Design in the Same Way

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.


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