Institute of Indian Interior Designers (IIID)

The Institute of Indian Interior Designers (IIID) is the apex body for the field of Interior Design in India. The IIID was founded and registered as a society in 1972 to establish good professional and trade practices and ethics among its members, highlight and enhance the image of the Interior Design Profession and create a platform for knowledge sharing with similar organizations at an international level.Today it comprises of over 5500 members spread across the country, and has 21 Chapters / Centres. The IIID is a non-profit, professional body whose members include leading Interior Designers, Architects, Consultants, Engineers, Project Management Consultants (PMC), Design Students, System Integrators, Artists, Painters, Facility Managers, Industry Members, Manfactures, Suppliers, Vendors, Contractors, Turnkey Solution Providers and so on. All these entities are affiliated to the field of Interior Design, Architecture and other related fields.

The IIID is headquartered in Mumbai and is a Full Member of:

• International Federation of Interior Architects / Designers (IFI)


• Asia Pacific Space Designers Association (APSDA)

It is also an Associate Member of the Japan Design Foundation (JDF).

Mission

The Mission of the IIID is to consolidate and extend contributions from the Interior Design Profession towards improving the quality of life in contemporary and future societies by sharing knowledge, expertise and experience.

Structure

The IIID has a multi category membership with the Associate/Fellow and Trade categories forming the core of the Institute. The other categories include Affiliate, Education, Licentiate, Student, Press and Honorary Members.

In order to accomplish the mission and objectives it has set for itself, the IIID has established a two-tier hierarchy to maintain close contact with its members spread over its chapters and centres. An Executive Committee at the Head Quarters in Mumbai and a Managing Committee at each Chapter / Centre is elected biannually from among the core members.

The President heads the Executive Committee at the national level and a Chairman heads each of the Managing Committees at the Chapters/Centres. New Chapters/Centres are established depending upon the membership strength in the city or state. Presently Chapters are formed where core membership stands at a minimum of 130.

Member Services

• Encourage and foster ideas of the profession


• Facilitate liaison between members and authorities


• Promote fellowship and ethical conduct


• Act for the common benefit of members


• Advocate common interests of members

Activities

The IIID has planned to undertake the following activities during the term 2008-2010

1. Make their presence felt in society by opening Design Cells to provide professional services by giving design inputs to Government. projects and Local Authorities.


2. Provision of an online forum on the IIID website for both experts and laypersons to post their queries or appreciate products/practices.


3. Organisation of a syndicated column providing regular insight into Design Practices.


4. Creation of a bridge between rural artisans & designers, by opening a Design Centre, which would promote handicrafts and showcase skills of artisans.


5. Setup of interactive sessions with corporations/experts with the intention of providing members a re-learning experience on products/practices.

Networking & Collaboration

• The IIID communicates and cooperates with similar bodies at the national and international levels.


• It also encourages cooperation between designers, affiliated professions, other artists and traders.

IIID believes in collaborating with institutes of affiliated professions, such as The Indian Institute of Architects, Practicing Architects & Engineers Association and so on. IIID also has a close liaison with the Council of Architects in New Delhi

Education

IIID has worked out a comprehensive syllabus on education in Interior Design which is available for adoption by educational institutes. The syllabus will be periodically updated in line with developments both in educational systems and interior design trends.

Communication

IIID publishes a quarterly magazine - INSITE, a "walk through" its various national and regional activities and events. INSITE now includes sections that contribute to the continuing education of its members by updates on technology and associated services, and features examples of good design practices from around the country.

Awards

IIID promotes and acknowledges excellence in Interior Design by conducting an annual competition for completed works at a National level. Held at different cities and venues each year, the Awards Nite is a much talked about and featured event of the Institute.

Exhibition

'Showcase' - the very name, which is synonymous with the work – An exhibition' of latest products and trends in the profession. Showcase is hosted by each of the various Chapters/Centres of the IIID.

Conventions

The biannual National Convention gathers members to deliberate on issues of contemporary interest to members, ranging from good practices and principles to social responsibility and technological advancements in design. The panache with which the Convention is organized and administered speaks of the high standards set by the IIID and its mission.

Sponsorship

IIID invites sponsorship based on specified guidelines for special projects or events of the institute which mutually benefit its members as well as sponsors. Sponsorship could be specifically designed to suit sponsors, budgets and themes. Sponsorship on a long term basis is also available for specific activities.

IFI

The IIID is actively involved with The International Federation of Interior Architects & Designers (IFI) which was founded in Denmark in 1963. During the IFI's existence there has been tremendous growth in IIID membership, while representing 52 member associations, institutions and schools in 45 countries of every continent. The IFI collectively represents over 25,000 practicing Interior Designers worldwide.

IIID was admitted to the IFI as a full member in 1995 and hosted one of the most successful IFI Congress - 'DesignSutra' at Mumbai in 2003. Presently the IIID has a representative on the IFI Board since 2001.

Energy Conservation Building Code (ECBC)

The Energy Conservation Building Code (ECBC), launched on 28 June 2007, is a document that specifies the energy performance requirements for all commercial buildings that are to be constructed in India. The code is mandatory for commercial buildings or building complexes that have a connected load of 500 kW or greater or a contract demand of 600 KVA or greater. The code is also applicable to all buildings with a conditioned floor area of 1,000 m2 (10,000 ft2) or greater.The ECBC has been developed by India’s Bureau of Energy Efficiency, and is mandated by the Energy Conservation Act, 2001, passed by the Indian Parliament in September 2001.

ECBC is a set minimum energy efficiency standards for design and construction. ECBC encourage energy efficient design or retrofit of buildings so that it does not constrain the building function, comfort, health, or the productivity of the occupants and also have appropriate regard for economic considerations (life cycle costs i.e. construction + energy costs are minimized).

BEE would take suitable steps to prescribe guidelines for energy conservation building codes. Central Government can prescribe energy conservation building codes, and direct owners/occupiers to comply with them. State Government can modify the code in response to local climate conditions. ECBC provides a platform for the Broad stakeholders such as Building Industry, manufactures, professionals, Government Agencies etc to participate. ECBC addresses local design conditions and construction practices. It also emphasis on maximizing building envelope benefits – to encourage better designs.

ECBC defines the norms of energy requirement per sq. metre of area and takes into consideration the climatic region of the country, where the building is located. Norms have been developed to cater to 5 different climatic zones in India such as composite, hot and dry, warm and humid, moderate and cold.

The ECBC provides design norms for:

• Building envelope, including thermal performance requirements for walls, roofs, and windows, except for unconditioned storage spaces or warehouses.


• Lighting system (Interior and exterior lighting), including day lighting, and lamps and luminaries performance requirements.


• Mechanical systems and equipment, including ventilating, and air Conditioning.


• HVAC system, including energy performance of chillers and air distribution systems.


• Electrical system and motors.


• Water heating and pumping systems, including requirements for solar hot-water systems.

The code provides three options for compliance:

1. Compliance with the performance requirements for each subsystem and system;


2. Compliance with the performance requirements of each system, but with tradeoffs between subsystems; and


3. Building-level performance compliance.

Simulation exercises indicate that ECBC-compliant buildings use 40 to 60% less energy than similar baseline buildings.

ECBC development Process

1. An extensive data collection was carried out for construction types and materials, glass types, insulation materials, lighting and HVAC equipment


2. Base case simulation models were developed


3. The stringency analysis was done through detailed energy and life cycle cost analysis.


4. A stringency level for each code component was established


5. Code was finalized after consideration of comments on a draft version.

ECBC Scope

1. Mandatory Scope Covers commercial buildings


2. Applies to New Construction only


3. Building components included
   
   
   
   • Lighting (Indoor and Outdoor)
   
   
   • Building Envelope (Walls, Roofs, Windows)
   
   
   • Heating Ventilation and Air Conditioning (HVAC) System
   
   
   • Solar Water Heating and Pumping
   
   
   • Electrical Systems (Power Factor, Transformers)

ECBC Compliance Approaches

1. Component-based (prescriptive)

• Requires little energy expertise


• Provides minimum performance requirements


• No flexibility

2. System-based (trade-off)

• Allows some flexibility through the balance of some high efficiency components with other lower efficiency components

3. Whole building design analysis (performance)

• Allows flexibility in meeting or exceeding energy efficiency requirements (as compared to a baseline building)

Building Envelope Design

Impact of Energy Codes

1. Market Development for EE products

• Building Insulation


• Energy Efficient Windows (Glass and Frames)


• High-Efficiency HVAC Equipment

2. Improved Design Practices

• Lighting and Day-lighting


• Natural Ventilation/Free-Cooling Systems

3. Lower Energy Use and Reduced Electricity Bills

4. Reduced connected load and Improved Power Factor

Tiffany glass

History of Tiffany Glass

Tiffany glass is the generic name used to describe the many and varied types of glass developed and produced by Louis Comfort Tiffany, (1848-1933), one of the most famous stained glass artists of the United States; he was remembered not only for his windows but for decorative glass objects as well, in particular the so-called Tiffany lamps.

Tiffany was an interior designer, and in 1878 his interest turned towards the creation of stained glass, when he opened his own studio and glass foundry because he was unable to find the types of glass that he desired in interior decoration.

Tiffany Glass

Most people think of Tiffany glass as decorative bronze lamps with intricate multicolored, stained-glass shades, but it actually includes other glass products, including solid color windows, painted art glass shades and lamps, and flat and pressed glass. Tiffany glass pieces were incorporated into homes, most notably in lamp and window construction. The glass work was used in the homes of the wealthy, but also in public buildings.

Tiffany glass not only incorporates the color into the glass, but also tonal variations and texture, as well as use tonal variations to suggest depth. The pieces of glass were not evenly colored but were pieces of opalescent window glass made by combining and manipulating several colors to create an unprecedented range of hues and three-dimensional effects. Thus the tiffany windows look like paintings, which were therefore in great demand.

The Preston Bradley Hall dome put in place in Chicago's first public library in 1897 features more than 1,000 square feet of Tiffany glass. (Preston Bradley Hall is now home to the Chicago Cultural Center.)

Types of Tiffany glass

1. Opalescent glass

Opalescent glass is commonly used to describe glass where more than one color is present, being fused during the manufacture, as against flashed glass in which two colors may be laminated, or silver stained glass where a solution of silver nitrate is superficially applied, turning red glass to orange and blue glass to green. Some opalescent glass was used by several stained glass studios in England.

Opalescent glass is made with a combination of white glass and a cathedral color. The opacity of this type of glass is in relation to the amount of white glass used in its creation. Dense opal base glass uses a higher consistency of white glass than light opal base glass. Because of this change in mixtures, dense opal base glass is much more opaque than light opal base glasses.

Opalescent glass radiates especially deep, vibrant hues to achieve pictorial effects of unsurpassed beauty. This stunning stained glass piece features transparent enamels, silk-screened and kiln-fired on hand-rolled glass.

Opalescent glass is made in a number of ways, including as a single colour; with the pigments that give the glass a streaky, mottled, or cloudy appearance; and with or without a surface texture. It can be both a most beautiful and challenging glass with which to work. This is because the pigments are mixed into opalescent glass by hand during manufacture, with the result that the color patterns and tones in the glass are never exactly the same in any two sheets.

Opalescent glass has one characteristic that transparent glass does not: namely, that it can be seen in both transmitted and reflected light. Opalescent glass has color impregnated into it to the extent that the pigmentation is visible by light rays reflecting off it. It can be seen as well as seen through.

2. Favrile Glass

Favrile glass often has a distinctive characteristic that is common in some glass from Classical antiquity: it possesses a superficial iridescence. This iridescence causes the surface to shimmer, but also causes a degree of opacity. This iridescent effect of the glass was obtained by mixing different colors of glass together while hot. Favrile is different from other iridescent glasses because its color is not just on the surface, but imbedded in the glass.

Some of the distinguishing colors in Favrile glass includes "Gold Lustre", Samian Red"," Mazarin Blue", "Tel-al-amana" (or Turquoise Blue), and Aquamarine. Favrile was the first art glass to be used in stained-glass windows, as Tiffany first thought of the idea of making patterns in windows based shapes and colors.

3. Streamer Glass

Streamer glass refers to a sheet of glass with a pattern of glass strings affixed to its surface. Tiffany made use of such textured glass to represent, for example, twigs, branches and grass.

Streamers are prepared from very hot molten glass, gathered at the end of a punty (pontil) that is rapidly swung back and forth and stretched into long, thin strings that rapidly cool and harden. These hand-stretched streamers are pressed on the molten surface of sheet glass during the rolling process, and become permanently fused.

4. Fracture Glass

Fracture glass refers to a sheet of glass with a pattern of irregularly shaped, thin glass wafers affixed to its surface. Fracture glass is made from paper-thin blown shards or flakes of intensely colored glass fused to the bottom of sheets during the rolling process. Tiffany made use of such textured glass to represent, for example, foliage seen from a distance.

The irregular glass wafers, called fractures, are prepared from very hot, colored molten glass, gathered at the end of a blowpipe. A large bubble is forcefully blown until the walls of the bubble rapidly stretch, cool and harden. The resulting glass bubble has paper-thin walls and is immediately shattered into shards. These hand blown shards are pressed on the surface of the molten glass sheet during the rolling process, to which they become permanently fused.

5. Fracture-streamer Glass

Fracture-Streamer glass is fracture glass combined with hand-stretched streamers or strings of glass during the rolling process. Fracture-streamer glass refers to a sheet of glass with a pattern of glass strings, and irregularly shaped, thin glass wafers, affixed to its surface. Tiffany made use of such textured glass to represent, for example, twigs, branches and grass, and distant foliage.

The “fractures” are created by the addition of thin blown flakes of intensely colored glass, while the “streamers” are pulled or drawn strings of intense colors. Both fractures and streamers are quick-fused to the bottom of sheets during the rolling process.

Fracture and streamer glass is used primarily for backgrounds; the fractures suggest multitudinous leaves or flowers in the distance, while the streamers suggest twigs or stems. For this reason, fracture colors are usually selected to correspond to the colors used in leaf or flower foregrounds.

6. Ripple Glass

Ripple glass refers to a sheet of textured glass with marked surface waves. The texture is created during the glass sheet-forming process. A sheet is formed from molten glass with a roller that spins on it, while travelling forward. Normally the roller spins at the same speed as its own forward motion, and the resulting sheet has a smooth surface. In the manufacture of rippled glass, the roller spins faster than its own forward motion. The rippled effect is retained as the glass cools.

In order to cut ripple glass, the sheet may be scored on the smoother side with a carbide glass cutter, and broken at the score line with breaker-grozier pliers.

7. Ring Mottle Glass

Ring mottle glass is an opalescent glass in which rates of crystal growth have been controlled to create ring-shaped areas of opacity. The effect is a visual surface mottling. Ring mottle glass refers to sheet glass with a pronounced mottle created by localized, heat-treated opacification and crystal-growth dynamics. Tiffany's distinctive style exploited glass containing a variety of motifs such as those found in ring mottle glass, and he relied minimally on painted details.

This type of glass has a locally varying opacity; the “rings” are more opaque than the surrounding matrix. Ring mottled glass is used to provide color and image gradation that is non-streaky, or non-linear. The naturally rounded shape of each ring breaks up the more typical streakiness of stained glass. The artist, using ring mottles, can create shading and imagery unavailable from other glass types.

8. Drapery Glass

Glass sheets with multiple dramatic folds, likened to those in hanging drapes. Drapery glass refers to a sheet of heavily folded glass that suggests fabric folds. Tiffany made abundant use of drapery glass in ecclesiastical stained glass windows to add a 3-dimensional effect to flowing robes and angel wings, and to imitate the natural coarseness of magnolia petals.

To create drapery glass, the molten glass is shaped by taking a hand held roller and using it like a rolling pin to create "speed bumps" on the surface. It can also be tugged and pulled by hand using steel tongs to create the deep fabric-like folds in the surface. It is easy for the glassmakers to get burnt while making this unusual glass and extreme care must be taken while rolling the glass.

Body-tinted Glass

Body-tinted glass is normal float glass into whose melt colorants are added for tinting and solar-radiation absorption properties. This tinted glass saves energy and reduces heat penetration into buildings and gives a striking visual effect. Coloured glass is an important architectural element for the exterior appearance of façades.

Tinted glass refers to any glass that has been treated with a material such as a film or coating, which reduces its ability to transmit light. Glass can be tinted with various types of coating, which block and/or reflect different amounts and types of light, according to the needs and preferences of the consumer. Glare reduction is another important property of tinted glass. Glare

The production process of body-tinted glass is similar to that of float glass. The only variation is in the colorants mixed at the beginning with the standard raw materials. Body-tinted glass is produced when colorants and iron are introduced during the glass manufacturing process. Different additives may produce differently coloured glasses. Bronze, dark grey and green are the commonly used tints.

The end product does not affect the basic structure of the glass itself, but does enhance its performance in relation to the (solar) electromagnetic spectrum. The colour is homogenous throughout the thickness of the glass. The solar energy transmission, shading coefficient and visible light passing through the tinted glass will vary according to the colour selected.

During the float glass melt process, chemical colorants can be added which tint the colour and increase absorption from the sun. This helps minimize the solar radiation that enters a building, keeping it cool from the inside and protecting furniture from fading. As an example of the colorants used - to create a purple exterior, manganese is added, while pinks and reds can be produced from selenium.

Colorants and colors

Some of the most-used colorants and the colours they produce are listed below:

Iron – Green, brown, blue
Manganese – Purple
Chromium – Green, yellow, pink
Vanadium – Green, blue, grey
Copper – blue, green, red
Cobalt – blue, green, pink
Nickel – yellow, purple
Titanium – purple, brown
Cerium – yellow
Selenium – pink, red
Gold – Red
Cadmium-Sulphide – yellow
Carbon & Sulphur – amber, brown

Double-Glazed with High-Performance Tinted Glass

Tinted Glass is intended for universal application. Either as single or double glazing for a basic level of solar control, and even in furniture, interior design, partitions, etc. It is also the base glass for many high performance comfort glasses.

Doubly-glazed tinted glass reduces solar heat gain to below that of bronze or gray tint but has a visible transmittance closer to clear glass. High-performance or spectrally selective tinted glass products are typically light green or light blue. The tint has no effect on the U-factor but reduces solar heat gain. Doubly glazed tinted glass allows 51 percent of solar heat gain and 69 percent transmission of visible light.

Advantages

• Saves energy, controls solar heat and gives a striking visual effect
• Meets the increasing demands for light in workplaces, creates attractive interiors and gives a feeling of spaciousness
• Offers a practical, stylish alternative to traditional materials when used in screens, partitions and furniture at home or in the office
• Gives designers the freedom to create attractive modern environments that are also economical and easy to maintain
  

Body tinted glass gives the added benefit of making a building look unique and contemporary, creating a lasting impression for business HQs.
Applications

The range of available thicknesses enable glass to be used where superior strength, greater spans, reduced deflection, higher daylight transmission and enhanced noise suppression are required.

Automobiles

One of the most common applications of tinted glass is in automobile windows. Almost all cars come with tinting at the top of the windshield to reduce solar glare when the sun is low in the sky. Apart from this, the windows of several cars are tinted either at the factory or as an aftermarket add-on by the consumer, to provide privacy to the car’s occupants, as also to reduce the build-up of heat in a car while it is parked outdoors.

Dwellings

Another popular use of tinted glass is in windows of homes and commercial buildings. Residential glass tinting is much easier to do than automotive tinting. It can even be done by the homeowner himself, with some practice. Tinted glass in homes serves many practical purposes, such as limiting ultraviolet light transmission through windows, and reducing overall heat gain inside the home by reflecting solar heat energy, thereby saving the homeowner money on air-conditioning.

Commercial Buildings

Tinted glass is also used in commercial buildings. Apart from keeping the interiors cooler, it gives the outside of a building a more uniform, aesthetically pleasing appearance. Depending on the creative use of different colours of tinted glass, the building can also take on a unique and interesting appearance while being insulated from the sun at the same time.