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THEORY OF ARCHITECTURE 1 SPACE PLANNING CONCEPTS IN THE INTERIOR SPACE May also be applied in volume or height of a space. For example, the higher the ceiling, the more impersonal the ANTHROPOMETRICS...

THEORY OF ARCHITECTURE 1 SPACE PLANNING CONCEPTS IN THE INTERIOR SPACE May also be applied in volume or height of a space. For example, the higher the ceiling, the more impersonal the ANTHROPOMETRICS atmosphere becomes, while a low ceiling projects - Is derived from the Greek word “Anthropos” meaning otherwise. human, and “metron” meaning measure. - Is the comparative study of human body measurements and properties. These human measurements are important bases in designing interior spaces. TWO BASIC AREAS OF ANTHROPOMETRY: STATIC ANTHROPOMETRY is the measurement of body sizes at rest and when using devices such as chairs, tables, beds, mobility devices, and so on. FUNCTIONAL ANTHROPOMETRY is the measurement of abilities related to the completion of tasks, such as reaching, maneuvering and motion, and other aspects of space and equipment use. ERGONOMICS DIMENSIONS: SCALE AND PROPORTION - Is derived from the Greek word THE PRINCIPLE OF DESIGN “Ergon” meaning work. 1. BALANCE - Is the science of making the work There are three Basic Types of Balance: Symmetrical, environment safer and more Asymmetrical, And Radial comfortable for users based on design and anthropometric data. - PROXEMICS - Is derived from the Latin word “Proximus” meaning near. - Is the study of nature, degree and the effects of Symmetrical Balance: spatial separation individuals maintain and how this - Objects arranged with an imaginary mirror along a separation relates to environmental and cultural central axis. factors. - Each half is a mirror image of the other. - Is the study of human use of space within the context - Creates stability, dignity, and formality. of culture. - Common in classical architecture and historic FOR EDWARD T. HALL: buildings. The human perception of space, although - Can become static and dull if overused. derived from sensory apparatus that all humans share, are molded and patterned by culture. Asymmetrical Balance: - Intimate space- the closest "bubble" of - Objects with unequal visual weights balance each space surrounding a person. Entry into this other. space is acceptable only for the closest friends and - Not mirror images, but stabilize one another. intimates. Personal space - Adds activity, excitement, informality. - Social and consultative spaces- the - Bright colors can balance dull colors, large objects spaces in which people feel comfortable conducting with smaller groupings. routine social interactions with - Perceived as more dynamic and vigorous. acquaintances as well as strangers. Radial Balance: - Public space - the area of space beyond - Similar to symmetrical balance but with a central which people will perceive interactions as point. impersonal and relatively anonymous. - Elements radiate outward from a core. - Can exhibit circular, expanding movement. - Examples: wagon wheel, rose windows, flower arrangements. - Incomplete if central point or elements are missing. THEORY OF ARCHITECTURE 1 2. RHYTHM SCALE AND PROPORTION Rhythm in design involves organized movement through SCALE repetition, alternation, or progression of elements, Scale is a principle of design which refers to how a person creating visual patterns like bricks in a wall or leaves on a perceives the size of an object in relation to other objects tree. around it. There are two general classifications of scale in Repetition: design – the visual scale and the human scale. - Involves repeating elements in an organized manner. - Creates a basic pattern of rhythm. PROPORTION - Can carry the eye throughout a space. Proportion refers to the size of the parts of an object in Alternation: relationship to other parts of the same object. - Introduces variations in a rhythmic pattern. The human body is the standard by which people judge - Elements or concepts change in an alternating proportion. manner. - Examples include pinstriped fabrics or zebra stripes. Progression: SHAPE, FORM, AND UNITY - Suggests movement and direction. THE ELEMENTS OF DESIGN - Elements change gradually in a sequence. - Design composition theory is traditionally categorized - Examples include progressing from light to dark into "basic design," with elements and principles as its colors or small to large objects. major areas. 3. EMPHASIS - Elements of design include space, line, form, shape, Emphasis in design highlights specific elements, creating texture, and color, forming the vocabulary of dominance and subordination and adding character to design language. interiors by establishing focal points through dominant - Principles of design, such as balance, rhythm, forms, colors, textures, and lines. Designers use key emphasis, proportion, scale, unity, harmony, and features like fireplaces, bookcases, windows, or plants as variety, act as rules for applying elements effectively. points of emphasis, carefully balancing or contrasting - Elements and principles are essential tools for them with other elements. designers to create strong design solutions. 4. PROPORTION - This knowledge is valuable for professions like interior Proportion involves the relationship of parts within an design, architecture, graphic design, product design, object or to the whole, while scale refers to size relative and fine art, as well as daily life. to other objects. Proportion addresses width-to-length - The elements and principles offer guidelines rather matters to create aesthetic balance. The Greeks than strict rules, allowing for creative combinations to introduced concepts like the "golden section" and "golden achieve successful designs. rectangle" to establish pleasing proportions in architecture and art. These theories continue to influence modern 1. SPACE design, with Le Corbusier's Modulor system, developed in - Space stands as a cornerstone of design theory, 1948, using human body dimensions to control complex and paramount. It encompasses the endless proportions in architecture and design. void of the universe, as well as intricate relationships with emotions. 5. SCALE - The sub-elements of space include physical objects, Scale, closely linked to proportion, refers to the size of intangibles, three-dimensional movement, and time, an object compared to a constant unit. In architecture all intertwined by human interaction. When discussing and interior design, scale often compares an object's size space as a design element, it's more apt to address to the human form. Scale can denote both small and large spatial concepts and relationships than space as a sizes. Models are often created to scale, using distinct entity. The terms "space" and "spatial" are relatable objects to establish a unit of measure. This used interchangeably in our ensuing discussions. approach helps us understand the scale of the model in relation to real-world dimensions. SPATIAL RELATION - The comprehension and skillful utilization of space 6. UNITY AND HARMONY and its intricate relationships play a pivotal role in Unity in design refers to the concept of oneness and achieving successful design outcomes. Once the use cohesion among various elements. It encompasses the and form of the spatial environment are established, total relationship of related parts and is sought after by attention turns to the selection of materials, surfaces, designers to create a sense of order. In design, unity is colors, and textures for objects within that space. achieved through repetition of shapes, forms, patterns, or Some fundamental concepts of spatial relationships are colors. It's often connected with harmony, where elements outlined below: fit together in a balanced way, combining unity and variety A. ENVELOPED SPACES: Smaller spaces enclosed to prevent monotony. within larger volumes, with distinct identities that can 7. VARIETY emphasize similarities or contrasts in form and function. Variety is present in both nature and human Orientation can also play a role. creations, and designers utilize unique and different B. JUXTAPOSED SPACES: Adjacent spaces, each with elements to add excitement and captivate our a unique form related to function or symbolism. Similar, attention. However, it's essential to balance variety contrasting, or identical spaces, influenced by elements with unity or harmony to prevent an overwhelming or like doors, columns, and openings. discordant effect. THEORY OF ARCHITECTURE 1 C. TRANSITIONAL SPACES: Linking spaces such as - Shapes of similar traits harmonize, like curved shapes hallways or courtyards, they can be similar or different in with circular forms. Interiors combine shapes for size and form from connected areas. They enhance balance and unity. people's perception as they move between spaces. - Shapes reveal object relationships; straight lines unify D. INTERLACED SPACES: Two spaces connecting in a while curves contrast as focal points. way that their forms influence each other. Overlapping - Modern designers redefine stability tied to square, forms can be physical or implied, creating a shared triangle, and circle. Rectilinear shapes convey clarity configuration. and formality through orientation, size, and placement. SPATIAL ARRANGEMENT Architecture and interior design combine art and science to enclose spaces for human use. Different space arrangements fulfill specific needs: A. Linear Arrangement: Spaces aligned sequentially, often with a central focus and surrounding support areas. B. Modular Arrangement: Related functions grouped into modules, allowing cohesive plans. C. Grid Arrangement: Spaces structured around a grid pattern, providing uniformity and adaptability. These configurations offer versatility, catering to varying spatial requirements and individual needs. PSYCHOLOGICAL AND EMOTIONAL SPACE - Everyone has a personal sense of space, and the arrangement of furniture or the size of a space may not always align with that perception. This personal "territory" or "space bubble" is a natural characteristic known as territoriality. Dr. Edward Hall introduced the concept and theories of how people perceive and use space. While designers work with physical-spatial relationships, they must also consider the emotional impact of these spaces. 2. LINE - Line is a fundamental element in design that connects points and expresses relationships. It's found in nature and used by humans throughout history. Lines can be straight, curved, vertical, horizontal, or diagonal, each conveying a different direction and emphasis. They have qualities like thickness and smoothness, and their context in interior design influences the feelings they evoke and the meanings they convey. 5. TEXTURE 3. FORM - Texture refers to visual and tactile qualities of - Form in design relates to both physical shape and objects. Tactile textures like sandpaper are physically three-dimensional mass. While shape refers to the felt, while visual textures appear textural but are outline of an object, form implies volume and depth. smooth. They can be soft, hard, rough, smooth, dull, Manipulating space generates form, adding or shiny. dimension and substance to space. Designers use - Light affects texture perception: rough textures form to convey abstract concepts, giving substance to absorb light, creating contrasts, while smooth ideas. Form can involve substance, vapor, or surfaces reflect light. Light and shadows emphasize structure, and even imply weight or dominance based or soften texture. on color and context. - Different textures influence comfort. Smooth textures seem "cold," while rough ones create warmth. 4. SHAPE Contrasting textures provide varied sensations. - Shapes, like rectangles, circles, squares, and - Texture impacts acoustics: hard surfaces amplify triangles, outline object contours. Geometric shapes sound, soft ones absorb it, crucial in commercial dominate our surroundings, expressed as curved, spaces. angular, or rectangular forms. - Patterns create texture; repeated forms like wood - Effective design use of shapes, whether geometric or flooring or fabrics emphasize overall texture. natural, depends on application. Shapes can be Two-dimensional patterns mimic three-dimensional precise, irregular, or organic, often derived from basic textures, like paint or wallpaper. forms like circles or squares. THEORY OF ARCHITECTURE 1 FORM GRAVITATIONAL CURVE Form encompasses various meanings: - Complete adaptation to surroundings - External appearance, like a chair or human body. - Emphasizes picturesqueness instead of symmetry. - Specific conditions, as water in ice or steam. - Results freely rely on natural surroundings instead of - In art and design, it's the structured arrangement of man-made structures. elements for a coherent image. - Form's physical properties are shape, size, color, and texture. - Shape defines outline or surface of a form, crucial for identification. - Size is length, width, and depth, influencing proportions and scale. - Color, through hue, saturation, and value, distinguishes forms and impacts visual weight. - Texture results from part size, arrangement, reflecting or absorbing light. VISUAL ACUITY AND PERCEPTION VISUAL ACUITY vs VISUAL PERCEPTION Visual Acuity UNITY refers to one’s ability to distinguish the shapes, color and - Unity in design is about elements working together details of the things one sees. It is the sharpness of cohesively. Clear relationships among visual vision, measured by the ability to discern letters, numbers, components convey concepts effectively. Good unity objects, and images at a given distance according to a leads to organized, high-quality designs, while poor fixed standard. unity results in less authoritative and organized outcomes. Visual Perception refers to the ability of a person to interpret the information BALANCE AND GRAVITATIONAL CURVE received such as color patterns and shapes through the BALANCE light that enters our eyes. The interpretation of the A. SYMMETRICAL BALANCE information depends on one’s particular cognitive The easiest and simplest kind of Balance in which the processes and prior knowledge. elements are arranged in precisely the same manner on either side of a central axis or line. THE GESTALT PRINCIPLE 1. SYMMETRY Visualization of a group with same elements on both sides B. ASYMMETRICAL BALANCE This concept aims for near-perfect symmetry. Masses and 2. PROXIMITY groups might seem alike but differ in plans, elevations, or Visualization of a group of objects that are close. details. Informal shapes create balance, satisfying the eye's need for harmony. Parts aren't identical but carry 3. CONTINUITY equal visual weight. Movement of the eyes from one object to another as they would follow a path. 4. CLOSURE Visualization finishes with a complete shape C. RADIAL BALANCE 5. FIGURE GROUND It is characterized by all parts radiating from a center. It is Visualization of a foreground and a background on a means of organizing forms and spaces in Architecture the flat surface while demanding balance. The qualities of its length and width may induce movement along its path. 6. SIMILARITY Visualization of a group with similar elements THEORY OF ARCHITECTURE 1 USER REQUIREMENTS AND PERCEPTION OF SPACE SPACE PERCEPTION Space Perception is the way humans and organisms recognize the positions of their bodies and surrounding objects, offering cues for depth and distance crucial for movement and orientation. SPACE ARTICULATION AND TERRITORIALITY / Perceiving space primarily relies on vision but is deeply influenced by our sense of scale, supported by bodily KINESTHETIC QUALITY OF SPACES senses. Alois Regel's Aesthetic Model proposes three ARTICULATION main scales of human experience: Articulation involves how a form's surfaces interact to 1. NEAR / SMALL: This scale allows us to comprehend define its shape and volume. An articulated form presents complex curvilinear geometry. We can physically clear parts and their relationships, with surfaces as interact with an object, rotate it, and build a mental distinct planes and a legible configuration. Lack of map, enhancing our understanding. articulation in a space leads to discomfort and confusion. 2. MEDIUM / MIDDLE: Texture and clarity matter when When spaces blend indistinctly, functions become unclear. understanding a space or architecture as a whole. Articulation prevents ambiguity, making spaces more Shading and contrast help interpret objects at a functional and appealing. Architectural elements establish distance. Curvilinear forms lose effectiveness as they articulation. Elements like planes, columns, arches, and exceed human scale, impeding full mental mapping. elevation changes define spaces and emphasize building 3. LARGE / FAR: From a distance, tactile understanding parts. While excessive articulation can obscure the whole, diminishes. Simple forms and colors become vital. a balanced approach enhances both individuality and High contrast clarifies complex forms or materials. coherence. USE OF ARTICULATION 1. Articulation of Movement and Circulation THE TELSTRA DOME SHAPE PERCEPTION Form and shape perception involve recognizing shapes through the senses. It's the ability of the human mind to perceive physical object shapes and outlines in the environment. 2. Articulation of Uses and Accessibility THE FORBIDDEN CITY TEXTURE PERCEPTION Texture is multidimensional, encompassing attributes like roughness, stickiness, and density. Visual texture perception indicates roughness perception is linked to 3. Articulation of Sequence and Succession cues revealing surface element protrusion and spatial MOORISH ARCHITECTURE- MEZQUITA distribution. 4. Articulation of Symbolism and Meaning CONTRAST PERCEPTION SYDNEY OPERA HOUSE In visual perception, contrast differentiates objects from the background (disparity in visual properties that distinguishes an object or its image from others. COLOR CONTRAST Contrast between a foreground object and background influences an object's perceived size. THEORY OF ARCHITECTURE 1 TERRITORIALITY THE COLOR SPECTRUM Territoriality is a behavioral pattern based on perceived control over a physical space, object, or idea. It involves habits of occupation, defense, marking, and personalization. Territoriality's definitions revolve around two themes: - Biological perspective: Focused on space demarcation and defense. - Social/Psychological perspective: Stresses organizational and attachment functions. Three types of territory: - Primary territories: Intimate, expressive spaces central to daily life. - Secondary territories: Less vital, promote in-group/out-group distinctions. - Public territories: Create interpersonal distancing, not central to identity. In architecture, articulation reveals how parts fit into the whole. Territoriality defines specific activities in spaces, emphasizing boundaries for different purposes. It's a framework for maintaining distance between individuals/groups to establish physical space demarcation. KINESTHETIC QUALITY OF SPACES - Kinesthetic is defined as the physical activity, movement, and awareness through the sensory perceptions of hearing, seeing, smelling and feeling. In considering the kinesthetic quality of a space, the observer is encouraged to move, to be a ‘person-in-motion’ using his body and touch to COLOR SYSTEM AND COLOR SCHEMES express thoughts; interacting with the space to process and remember information. CHROMATIC ENERGY OF ARCITECTURAL DESIGN Chromatic originates from "chromatikos," Greek for "color." It relates to color or color phenomena. COLOR is light and visual perception, encompassing hue, saturation, and tonal value. These attributes distinguish forms from their surroundings and influence visual weight. COLOR's components are: 1. HUE: The basic color like red or green, determined by dominant wavelength, not intensity. 2. CHROMA: Color's difference from grey at the same brightness; signifies saturation or purity. 3. VALUE: Color's lightness or darkness. TINT is a light hue achieved by adding white, and SHADE is a dark hue achieved by adding black. PSYCHOLOGY OF COLOR - Colors have noted psychological effects, falling into two categories: Warm Colors evoke emotions from comfort to hostility. (e.g., Red, Yellow, Orange) Cool Colors spark calmness and sometimes sadness. A color scheme is a mix of colors in design fields like (e.g., Green, Blue, Purple) architecture and art. It uses the twelve colors on the wheel - Color psychology studies how hues influence human to create various palettes, evoking different moods. This behavior and perception of surroundings. It's crucial in scheme establishes mood and coherence in a space. architecture, affecting user experience. Color choice, combination, and amount greatly impact atmosphere and aura in both interior and exterior spaces. THEORY OF ARCHITECTURE 1 LIGHT, COLOR, AND TEXTURE 3. GENERAL CATEGORIES OF BUILDINGS - Lighting and architecture alignment is crucial for user 1. LIGHT comfort. Types of buildings determine lighting needs: - Light, radiant energy from the sun, enables sight. It travels swiftly at about 300,000 km/second. There are A. Public Buildings (e.g., arenas, hospitals, schools): two light classifications: Focus on task lighting for specific activities. Adequate Natural Light: sun as the primary source. illumination is vital for events, navigation, reading, and Artificial Light: man-made sources. working. - Visible spectrum's seven colors are: Red, Orange, B. Official Buildings (e.g., offices, warehouses): Yellow, Green, Blue, Indigo, Violet. Efficiency is key due to energy consumption. Light interacts with materials in three ways: Energy-efficient, sustainable lighting is essential in Transparent: All light passes through. line with green building trends. Translucent: Some light passes with distortion. C. Specialized Buildings (e.g., museums, theaters, Opaque: Absorbs light, blocking passage. casinos): Atmosphere and experience are paramount. - Light, whether natural or artificial, highlights textures, Lighting enhances architectural elements, creating an colors, and forms in a space, enhancing architectural inviting and aesthetically pleasing ambiance. perception. Vision is key to architecture enjoyment, and lighting enriches this experience. 4. TEXTURE - Texture serves a dual purpose in architecture: it 2. THE IMPORTANCE OF ARCHITECTURAL conveys material quality and influences light and LIGHTING color. It shapes spaces, marks boundaries, interacts Lighting is pivotal in shaping our perception of with people, affects sound, and highlights elements. It architecture, whether natural or artificial. It adds emotional encompasses pigments, normal, dents, and finishes value and enhances experiences. Balancing lighting and to describe surface properties. architecture involve aesthetics, function, and efficiency. Texture in Architecture has various meanings: Aesthetic: Lighting evokes emotions, influencing how we a. The optical texture of the building which refers to its feel in a space, especially in retail settings. visual pattern at the large scale, and Function: Lighting must enable safe navigation within a b. The tactile texture which refers to what can be space, ensuring comfort and security. physically felt with the human hand. Efficiency: Aesthetic lighting should also be - Optical Texture could be given by the organization of energy-efficient, achieved by directing light accurately and architectural elements, such as windows, doors, using technologies like LEDs. solids or voids. The repetition of elements creates a pattern that is observed as an optical texture. Richard Kelly (1910-1977): A PIONEER OF - Tactile texture comes from materials like concrete, MODERN-DAY LIGHTING glass, or stone, which offer varied sensations. It can Richard Kelly, a lighting pioneer, transformed architectural be smooth, rough, or a combination, adding depth lighting by using it as an element of design, not just for through material contrast. illumination. Trained at Yale, his career spanned 40 years with 300+ projects. He introduced theories that remain 5. TYPES AND USE OF TEXTURE IN influential, evident in his collaborative works like Glass ARCHITECTURE House, Seagram Building, and more. - Texture refers to the sensory experience and His key lighting theories: appearance of objects through touch and sight. It's Focal Glow: Task lighting highlights areas, guiding vital in architectural design for both interiors and attention. exteriors, with careful consideration. Texture Ambient Luminescence: General lighting ensures categorization includes: uniformity and safety. SMOOTH AND ROUGH TEXTURE Play of Brilliants: Accent lighting stirs emotions and Smooth textures are fine and practical for interiors. engagement. Rough textures are tactile, suitable for exterior use and decoration. Six qualities of light he identified: Intensity: Total light flux arriving at a surface. NATURAL AND ARTIFICIAL TEXTURES Brightness: Light reflected per unit area. Natural textures originate from nature, like wood and Diffusion: Even light spread, shadow creation. stone. Spectral Color: Color evoked by single or narrow Artificial textures are man-made, designed for various wavelengths. materials. Direction: Lighting placement affecting atmosphere. VISUAL AND PHYSICAL AND ONLY VISUAL Motion: Actual or implied light movement. TEXTURES Kelly's legacy highlights lighting's importance in Visual & Physical Textures are rough to both touch and architecture, continually evolving to enhance people's sight, often from nature. lives. Only Visual Textures appear rough but feel smooth due to processes like polishing. THEORY OF ARCHITECTURE 1 STRUCTURAL THEORIES AND CONCEPTS Membrane: Thin, sheet-like materials used in tensile structures, stabilized by tension, like fabric in tents or AS BASIS OF ARCHITECTURAL DESIGN inflatables. - Structural Design is the systematic exploration of a structure's stability, strength, and rigidity. The goal is to create a structure capable of enduring applied loads without failing during its intended lifespan. It ensures safety by transmitting or supporting loads appropriately. - In architectural design, structural theories are intrinsic to the final form. The structural design isn't mere decoration but an integral part of the design. For instance, ancient pyramids used exposed stonework Composite: are structures load-bearing elements made for structural support, and geodesic domes by from non-metallic combinations of fibers and resins. Buckminster Fuller exemplify this integration. They've replaced metals in aerospace, autos, and infrastructure due to advantages like lighter weight and - In the built environment, 'structure' refers to improved performance. Composites mix materials for constructed elements with a fixed ground location, better properties, usually using a 'matrix' and including buildings and load-bearing structures like reinforcement fibers. bridges. Even 'non-building' structures, like bridges, can be visually appealing through well-incorporated Types of composites include: structural design. 1. Fibre-Reinforced Polymer (FRP) 2. Carbon-Fibre-Reinforced Polymer (CFRP) STRUCTURE 3. Glass-Fibre-Reinforced Plastic (GFRP) STRUCTURE CAN BE CLASSIFIED IN A NUMBER 4. Aramid Fibers (e.g., Kevlar) for heat-resistant and OF WAYS: strong applications 5. Bio-Derived Polymers or Biocomposites A. TYPE 6. PVC Polyester Solid: Structures with a continuous and solid form. 7. PTFE Glass Frame: Rigid structures that support buildings or other assets, like bridges. B. STRUCTURAL SYSTEM Tensile Structures: Stabilized by tension instead of compression, often using cables or wires. Examples include fabric and cable net structures, as well as suspension bridges. STRUCTURES WITH TENSION ELEMENTS INCLUDE: Shell Roofs: Curved structures that often have thin 1. FABRICS STRUCTURES sections, commonly used in spaces like theaters and 2. CABLE NET STRUCTURES airports. 3. SUSPENSION BRIDGES THEORY OF ARCHITECTURE 1 Compressive Structures: Load-bearing structures E. ELEMENT subjected to compressive forces that try to shorten the - Substructure member. - Superstructure - Foundation - Roof - Shell and core - Structural frame - Floor - Wall: loadbearing walls, compartment walls, external walls, retaining walls Shear Structures: Shear forces applied perpendicular to BEHAVIORAL STRESS AND CIRCUITS a surface, causing parts of the surface to move in The Design Process breaks down complex projects into opposing directions. Shear walls and steel braced frames manageable steps. Architects, engineers, and others use resist shear forces. it to solve problems and create solutions. It involves activities to generate conceptual designs that address user needs and comfort in architecture, ranging from simple to extensive, research-based approaches. Bending Structures: Also known as flexural members, subjected to loads acting perpendicularly to their longitudinal axis, such as beams, girders, and joists. BEHAVIORAL STUDIES IN THE DESIGN PROCESS - In 1969, Herbert Simon coined behavioral design as "creating preferred outcomes from existing situations." Today, design's impact on human behavior is acknowledged across various forms, with effects ranging from intentional and desirable to unintentional and undesirable. Composite Structures: Involves multiple dissimilar materials combined for better performance. Common in building construction and other industries, offering enhanced properties compared to individual materials. C. FORM - One-dimensional: ropes, cables, struts, columns, beams, arches - Two-dimensional: membrane, plate, slab, shell, vault, dome, synclastic, anticlastic - Three-dimensional: Solid masses ▪ Composite - a combination of the above Identifying these during design and incorporating them D. MATERIAL into research aids solutions. Understanding psychology - Timber helps designers: - Concrete 1. Better insights into why people do what they do - Metal: Steel, aluminum, etc 2. Better ideas on where to look for solutions. - Masonry: Brick, block, stone 3. Better prototypes because the designer will have a - Glass much sharper understanding of what specific - Adobe behavioral outcome is expected of the design solution - Composite