ambot.docx

ARCHI = GREAT TEKTON = BUILDER Architecture is whatever an Architect's design. Architects Design - Space - Form - User-environment Interaction/User experience - Movement - Enclosure - Center - Periphery - GeometryVi - Structure, patterns, rhythm - Signs/wayfinding - Natural built interaction - Built...

ARCHI = GREAT TEKTON = BUILDER Architecture is whatever an Architect's design. Architects Design - Space - Form - User-environment Interaction/User experience - Movement - Enclosure - Center - Periphery - GeometryVi - Structure, patterns, rhythm - Signs/wayfinding - Natural built interaction - Built social interaction - Social value - Materiality- constructability - Structure - Documentation - Quickness: change management - Integrated design Architectural Knowledge Utilitas(Utility) -- Commodity - Social Firmitas(Structure) -- Firmness - Objective Venustas(Beauty) -- Delight -- Subjective I. Activities of Man - Desire for Preservation - Desire for Recognition - Desire for Response - Desire for Self-expression II. Influence of Nature - Climate - Topography - Materials III. Influence of Man - Social Condition - Period & Man's Personality LESSON 2: PRINCIPLES OF DESIGN Essentials of Structure Visible and Invisible structures Form - Major Horizontal - Major Vertical eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. xoxo, leanne. Volume Form (Visual Properties) - Shape (true shape is more visible in front view) - Size (Real dimensions of Form) - Scale (the size relative to other forms in its context) - Color (affects the visual weight of form) - Texture (Surface characteristics of a form) - Position (forms Location, relative to its environment or visual field) - Orientation (forms location relative to the ground plane, compass points or to the person viewing the form) - Visual inertia (degree of concentration and stability of a form) Man\'s perspective/view Our distance from the form Lighting conditions Visual field surrounding the form THE TRANSFORMATION OF FORMS - dimensional transformation - subtractive transformation - additive transformation Centralized forms Linear forms Radial forms Clustered forms Grid forms LESSON 3: ARTICULATION OF FORMS Differentiating adjacent surfaces - with a change in material, color, texture, or pattern Developing the corner - as a distinct linear element independent of the surfaces Removing the corner - to physically separate adjacent planes. Lighting the form - to create sharp distinctions of light and dark at its corners. - Corners of a form can be rounded and smoothed over to emphasize the continuity of its surfaces. EDGES AND CORNERS A Slight deviation in the geometry of the adjoining planes makes the corner formally active in our visual field 4 WAYS TO REINFORCE A CORNER'S CONDITION VISUALLY 1. Introduce a separate and distinct element that is independent of the surfaces it joins. Defines the edges of the adjoining planes and becomes a positive feature of the form. 2. De-emphasizing the corner by introducing an opening at the corner; this weakens the definition of the volume within the form and emphasizes the planar qualities of the surface. 3. Neither planes are extended; this condition deteriorates the form's volume allowing interior space to leak outward and reveals the surfaces as planes in space. 4. Rounding off the corner emphasizes the continuity of a form's surfaces, the compactness of its volume, and softness of its contour PLAN CONFIGURATIONS L -- shaped configuration - generates a field of space from its corner outward - A Corner as an independent element that joins two (2) linear forms together. - A Linear form that incorporated the corner in its boundaries - Building with l-configuration to establish corner of its site eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. xoxo, leanne. - Enclosed field of outdoor space to which its interior spaces relate Parallel planes configuration -- defines a volume of space between them that is axially oriented toward the open ends of the configuration - To visually reinforce the spatial field, along the open ends of the configuration, the base plane is manipulated, or overhead elements are added to the compositions. - The spatial field can be visually expanded by extending the base plane beyond the open ends of the configuration ex. KINGO HOUSING UNIT JORN UTZON, DENMARK U-shaped configuration -- defines field of space that has an inward focus as well as an outward orientation. - Secondary zones are created when openings are introduced. - This configuration can be used in building forms and organizations. - U-shaped building can define forecourt for a building's approach, and a recessed entrance within the volume of the building from itself Ex. GALLERY OF WOLKEN OFFICE BUILDING, MUELLER ARCHITECTS Four planes configuration -- if openings are introduced at the corners of the space, the individual identity of the planes will be reinforced and encourage movement To achieve visual dominance within a space, or become its primary face (highlight, accent), one of the enclosing planes can be differentiated from the others by its size, form, surface, articulation, or the nature of the openings within it. (ex. Use of tiles and other finishes, Combination of paints and other finishes) SURFACE Texture -- usually associated with materials. Tone -- or the creation of light and shade. Color -- as distinguished from tone, results from the hues of the spectrum. LESSON 4: DESIGN ELEMENTS, PRINCIPLES, & CONCEPT FUNDAMENTALS - ELEMENTS - PRINCIPLES - CONSIDERATIONS - CONCEPTS PLANNING - CONSIDERATIONS - SPACE PLANNING ELEMENTS LINES - VERTICAL (Represents dignity, formality, stability, and strength) - HORIZONTAL (Represents calm, peace, and relaxation) - DIAGONAL (Represents action, activity, excitement, and movements.) - CURVED (Represents freedom, the natural, having the appearance of softness, and creates a soothing feeling or mood) Ex. EMPIRE STATE BUILDING\< ONE WORLD TRADE CENTER, TEMPLE OF KARNAK, COMMUNITY CHRISTIAN CHURCH BY FANK LLYOD WRIGHT, MICROSOFT OFFICE BUILCING COLORS This design element can show the difference between day & night, light & dark, intensity and strength of the structure. This design element includes hue and saturation, color wheels, and color schemes. ex. SAINT BASIL\@S CATHEDRAL MOSCOW Colors affect how humans feel and act FORM AND SHAPE FORM: (3D) The shape and structure of something as distinguished from its substance or material. eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. xoxo, leanne. SHAPE: (2D) The two-dimensional contour that characterizes an object or area. SPACE By incorporating the use of space in your design, you can enlarge or reduce the visual space. TYPES: - Open, uncultured spaces - Cramped, busy spaces - Unused vs. good uses of space TEXTURE SMOOTH SURFACE - Reflects more light and therefore is a more intense color. ROUGH SURFACE - Absorbs more light and therefore appears darker VALUE ex. DOWNTOWN BUILDINGS IN BANGALORE, INDIA (buildings use varying values of blue/green) VISUAL DESIGN PRINCIPLES BALANCE Parts of the design are equally distributed to create a sense of stability. Both physical and visual balance exist. Types; Symmetrical or formal balance (The Taj Mahal Mausoleum Agra, Uttar Pradesh, India) Asymmetrical or informal balance (Robie House, Chicago Residential Prairie School Architectural Style) Radial balance (Galleria Vittorio Emanuele II Milan, Italy - Architect: Giuseppe Mengoni) Vertical balance (L\'Oceanogràfic, Valencia, Spain Felix Candela) Horizontal balance (Chi Lin Buddhist Temple and Nunnery Kowloon City, Hong Kong) RHYTHM/REPETITION Repeated use of line, shape, color, texture or pattern Types: - Regular rhythm (Cube house design Rotterdam, Netherlands) - Random rhythm (Saint Basil's Cathedral Moscow, Russia) - Gradated rhythm (Sun Pagoda Guilin, Guangxi, China) EMPHASIS The feature in a design that attracts one's eye -- the focal point Emphasis can be achieved through size, placement, shape, color, and/or use of lines. Location -- The building is centered horizontally. Lines -- All lines lead to the building including the horizon line, the stairway, and lines of trees. Shape -- The building is a geometric shape which contrasts with the surrounding organic (natural) shapes and therefore stands out. PROPORTION AND SCALE Comparative relationships between elements in a design with respect to size. \* 3:5 ratio is known as the Golden Mean (FIBONACCI SEQUENCE) MOVEMENT Flow or feeling of action eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. xoxo, leanne. CONTRAST Noticeably different Can be created with Color Proportion and scale Shape Texture Etc. UNITY Unity is achieved by the consistent use of lines, color, material, and/or texture within a design. Branding, Identity LESSON 5: PERCEPTION OF COLORS IN ARCHITECTURE Human response to color is total -- It influences us psychologically and physiologically. Color is a sensory perception, and as any sensory perception, it has effects that are symbolic, associative, synesthetic, and emotional. The impression of a color and the message it conveys is of utmost importance in creating the psychological mood or ambiance that supports the functions of a space. The designer has the task of knowing how the reception of visual stimulation, its processing and evoked responses in conjunction with the hormonal system, produces the best possibilities for the welfare of human beings. This is utmost importance in varied environments. Faber Birren - Father of Applied Color Psychology - The originator of OSHA colors (Occupational Safety and Health Administration) - Established the profession of color consultants (1936) - Discovered the relationship of the fundamental attributes pertaining to hues: shade, tint, and tone. - "The study of color is essentially a mental and psychological science, for the term color itself refers to sensation." It has an aggressive quality and is frequently associated with violence and excitement. (medium red) suggests health and vitality (bright red) often has amorous connotations Effect: exciting, stimulating Association: - Positive: passionate, fervid, active, strong, warm - Negative: intense, aggressive, raging, fierce, bloody Character: Red is the most dominant and dynamic color. The eye has to adjust focus, since the natural focal point of red lies behind the retina. Consequently, red appears closer than it is. Ceiling: intruding, disturbing, heavy Walls: aggressive, advancing Floor: conscious, alert Denotes gayety; stimulating cheering - to the lazy, upsetting to the nervous. It is the most luminous color. Yellow also demands attention, and so, it is used in dangerous locations, such as the edge of a subway platform to mark the hazard, while red used to be the color for firetrucks, yellow is now preferred. Effect: cheering Association: - Positive: sunny, cheerful, radiant, vital - Negative: egocentric, glaring Character: When pure, yellow is the happiest of all colors. In radiates warmth, cheerfulness, and inspiration and signifies enlightenment, and communication. eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. xoxo, leanne. Ceiling: light (towards lemon), luminous, stimulating Walls: warm (towards orange), exciting to irritating (highly saturated) Floor: elevating, diverting Has a stimulating effect and should usually be used in relatively small amounts. The occupant of an orange office, for instance will become ill at ease after a short time and will leave it at every opportunity Effect: exciting, stimulating, cheering Association: - Positive: jovial, lively, energetic, extroverted - Negative: intrusive, blustering Character: Orange is less masculine than red. It has very few negative associations. However, it may appear cheap or without vigor if low in saturation. Ceiling: stimulating, attention-seeking Walls: warm, luminous Floor: activating, motion-oriented Is restful and warming but should be combined with orange, yellow or gold because it could be depressing if used alone. Effect: subduing Association: - Positive: warm, secure, stable - Negative: oppressive, heavy Character: There is a great difference between wood and brown paint. In certain institutions brown should be avoided since it evokes fecal associations. Wood and stone on the other hand appear very comfortable, and warm Ceiling: oppressive and heavy (if dark) Walls: secure and assuring if wood, much less so if paint Floor: steady, stable Suggests cold and is also depressing unless combined with at least one livelier color. Effect: : neutral to calming Association: - Positive: neutral - Negative: boring Character: Gray fails to have much psychotherapeutic application. Thus, the current fashion of using it with various accent walls defies all logic. Ceiling: shadowy Walls: neutral to boring Floor: neutral Is cheerful, particularly when used with warm colors like red, yellow and orange. Effect: : disconcerning Association: - Positive: clean, crisp, bright - Negative: empty, sterile Character: There are a lot of psychological and physiological justifications for not using white as a dominant color. Ceiling: empty, no design objections-helps diffuse light sources and reduce shadows, Walls: neutral to empty, sterile, without energy Floor: touch-inhibiting (not to be walked upon) is sedative and soothing. It suggests a stately or melancholy atmosphere. Cheerfulness or cowardice, cheapness. Effect: subduing Association: - Positive: dignified, exclusive - Negative: lonely, mournful, pompous, conceited eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. xoxo, leanne. Character: Purple is a mixture of red and blue (the two colors that are psychologically most opposed). Purple can appear delicate and rich, or unsettling and degenerate. Ceiling: disconcerting, subduing Walls: heavy, overpowering Floor: fleeting, magical is peaceful and tranquil. It reduces excitability and therefore helps one to concentrate. Effect: retiring, relaxing Association: - Positive: calm, sober, secure, comfortable, noble - Negative: frightening, depressing, melancholy, cold Character: Blue appears to be transparent, wet, cool, and relaxing. Opposite to red, blue will decrease a person's blood pressure and pulse rate. Ceiling: celestial, cool, receding (if light), heavy and oppressive (if dark) Walls: cool and distant (if light), encouraging and space deepening (if dark) Floor: inspiring feeling of effortless movement (if light), substantial (if dark) Has a cooling quality and it acts as a sedative. Effect: retiring, relaxing Association: - Positive: tranquil, refreshing, quiet, natural - Negative: common, tiresome, guilty Character: Contrary to red, when looking at green the eye focuses exactly on the retina, which makes green the most restful color to the eye. Green can symbolize nature but also mold and sickness. Ceiling: protective, reflection on the skin can be unattractive Walls: cool, secure, calm, reliable, passive, irritating if glaring (electric green) Floor: natural (if not too saturated), soft, relaxing, cold (if towards blue Effect: lively (bubble-gum pink), calming (light pink) Association: - Positive: lively, calming, intimate - Negative: too sweet, weak Character: Pink must be handled carefully. It is generally considered feminine, but depends much on the nuance used (bubble-gum pink, or old rose) Ceiling: delicate, comforting Walls: aggression-inhibiting, intimate, too sweet if not grayed down Floor: too delicate, not used very often Effect: ominous Association: - Positive: deep, abstract - Negative: dungeonlike, night, grief, death Character: Black is associated with oppressive power, darkness, and the unknown. In architecture it is often used to make something appear as receding, such as the HVAC in a ceiling. Ceiling: hollow to oppressive Walls: ominous, dungeonlike Floor: odd, abstract COLOR USAGE RESIDENTIAL Colors used within the home must be tolerated by the whole family. If members of a family have tastes which differ widely, they may be satisfied by selecting the colors of their own rooms. COMMERCIAL eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. eimaigoiteia. xoxo, leanne. The main objectives in determining the color scheme of a commercial installation are to provide colors which are rich, definite, and harmonious which will be easy to live with, and which will contribute to the efficiency and wellbeing of all who tenant the building. INDUSTRIAL The kind of artificial light must be taken into consideration in the design of industrial interiors. It will depend largely upon the type of operation performed. It is equally important that the proper kind of light be used to avoid shadows and glare INSTITUTIONAL The interiors of institutions such as are carefully studied to provide the most favorable environment for patients, visitors and staff. The aim should be to provide an atmosphere that is friendly and inviting. Color and illumination are probably the most important of the visual elements EDUCATIONAL While a stimulating atmosphere is desirable in a teaching situation, care should be exercised to prevent overstimulation, which may produce restlessness, tension and fatigue over children and teaching staff BEZOLD EFFECT - It describes how our perception of color is affected by its surrounding color. - The uniform color of a room - The effect of the visible size on color - Colors on a non-uniform background - The effect of color on form - Depends on lightness, it can still be perceived as one color - Movement; spreading effect; continuation of broken image - Same color appears lighter or darker than the other - It may or may not appear as bigger or smaller with different background COLOR THEORY Monochrome (one color plus black and white) Complimentary (two opposite colors plus black and white) Analogous (three adjacent colors plus blck and white) Split complementary (one color plus two other side its opposite color plus black and white) Double split complementary (two colors either side of its opposite colors plus black and white) Triadic (three equivalent colors plus black and white)