Professional Documents
Culture Documents
Architectural Interiors
Architectural Interiors
Architecture Department
Submitted by:
SAMUEL T. DICHOSO, JR.
2nd Year/AR21FB1
Submitted to:
ARCH. ROMEO CAMACHO
Subject Instructor
be use to draw attention to the unexpected or exaggerated - this is often the case in
advertising. Changing the natural scale is certainly not unusual. It is frequently used in
religious painting. Proportion is linked to the mathematical term ratio. The golden
rectangle is an expression (golden mean) is width is to length as length is to length plus
width (w:1 as 1:1 + w). Artists to Architects still use the proportions of the golden mean.
Unexpected Scale when objects are shown as overly exaggerated or reduced in size,
this effect is called unexpected scale. Unexpected scale is often used in advertising in
order to draw our attention to a product.
Large and small scale forms can be combined together in a composition to create a
dramatic effect.
c. Color
Color is seen either by the way light reflects off a surface, or in colored light sources. Red
colors seem to come forward while blue seems to recede into the distance. Color and
particularly contrasting color is also used to draw the attention to a particular part of the
image. There are primary colors, secondary colors, and tertiary colors. Complementary
colors are colors that are opposite to each other on the color wheel. Complementary
colors are used to create contrast. Analogous colors are colors that are found side by
side on the color wheel. These can be used to create color harmony.
Monochromatic colors are tints and shades of one color. Warm colors are a group of
colors that consist of reds, yellows, and oranges. Cool colors are group of colors that
consist of purples, greens, and blues.
c.1. Color wheel
The arrangement of colors around the color circle is often considered to be in
correspondence with the wavelengths of light, as opposed to hues, in accord with
the original color circle of Isaac Newton. Modern color circles include the purples,
however, between red and violet. Color scientists and psychologists often use
the additive primaries, red, green and blue; and often refer to their arrangement
around a circle as a color circle as opposed to a color wheel.
A color wheel based on RGB (red, green, blue) or RGV (red, green, violet)
additive primaries has cyan, magenta, and yellow secondaries (cyan was
previously known as cyan blue). Alternatively, the same arrangement of colors
around a circle can be described as based on cyan, magenta, and yellow
subtractive primaries, with red, green, and blue (or violet) being secondaries.
Most color wheels are based on three primary colors, three secondary colors,
and the six intermediates formed by mixing a primary with a secondary, known
as tertiary colors, for a total of 12 main divisions; some add more intermediates,
for 24 named colors. Other color wheels, however, are based on the
four opponent colors, and may have four or eight main colors.
means that one begins with white and ends with black; as one adds color, the
result gets darker and tends to black.
*The CMYK color system is the color system used
for printing
Orange has shown to have only positive effects on your emotional state. This
color relieves feelings of self-pity, lack of self-worth and unwillingness to forgive.
Orange opens your emotions and is a terrific antidepressant.
Similarly to Orange, Yellow is a happy and uplifting color. It can also be
associated with intellectual thinking: discernment, memory, clear thinking,
decision-making and good judgment. Also aiding organization, understanding of
different points of view. Yellow builds self-confidence and encourages optimism.
However, a dull yellow can bring on feelings of fear.
Green creates feelings of comfort, laziness, relaxation, calmness. It helps us
balance and soothe our emotions. Some attribute this to its connection with
nature and our natural feelings of affiliation with the natural world when
experiencing the color green. Yet, darker and grayer greens can have the
opposite effect. These olive green colors remind us of decay and death and can
actually have a detrimental effect on physical and emotional health. Note that
sickened cartoon characters always turned green.
We usually associate the color blue with the night and thus we feel relaxed and
calmed. Lighter blues make us feel quite and away from the rush of the day.
These colors can be useful in eliminating insomnia. Like yellow, blue inspires
mental control, clarity and creativity. However, too much dark blue can be
depressing.
Purples have been used in the care of mental of nervous disorders because they
have shown to help balance the mind and transform obsessions and fears. Indigo
is often associated with the right side of the brain; stimulating intuition and
imagination. Violet is associated with bringing peace and combating shock and
fear. Violet has a cleansing effect with emotional disturbances. Also, this color is
related to sensitivity to beauty, high ideals and stimulates creativity, spirituality
and compassion. Psychic power and protection has also been associated with
violet.
Brown is the color of the earth and ultimately home. This color brings feelings of
stability and security. Sometimes brown can also be associated with withholding
emotion and retreating from the world.
While comforting and protective, black is mysterious and associated with silence
and sometimes death. Black is passive and can prevent us from growing and
changing. White is the color of ultimate purity. This color brings feelings of peace
and comfort while it dispels shock and despair. White can be used to give
yourself a feeling of freedom and uncluttered openness. Too much white can
give feelings of separation and can be cold and isolation.
Gray is the color of independence and self-reliance, although usually thought of
as a negative color. It can be the color of evasion and non-commitment (since it
is neither black nor white.) Gray indicates separation, lack of involvement and
ultimately loneliness.
color. It can also be achieved by balancing lighter colors with darker colors, or bold colors with
light neutral colors.
Balance in design is similar to balance in physics. A large shape close to the center can be
balanced by a small shape close to the edge. A large light toned shape will be balanced by a
small toned shape (the darker the shape the heavier it appears to be).
Gravitational natural tendency toward some point or object of influence. The gravitation of
people towards suburbs.
Balance or EqualizationEquilibrium in the temperate zone, the climatic changes tend to
balance each other. However, nature is variable. If there is marked lack of rain, a drought results.
3 Types of Balance in the study of Composition:
(a) Symmetrical Balance
It occurs if you have slight changes on either side of an image. Both sides of the image
are almost the same. Gerald Squires' lithographic print of Newfoundland poet, Al Pittman,
is approximately symmetrical, being almost a mirror image of itself if it was split down its
vertical axis:
suggesting an overhead view of a pool of water surrounded with grass, by Peter Bell has
a composition making use of radial balance:
If equally spaced windows are introduced on the unbroken wall, then regular repetition is
present.
(b) Accented Rhythm
If the openings or details are arranged in such a manner that some are more important
than others, then the eye grasps the significance of this relationship and pauses longer in
contemplating the larger elements.
Rhythm may be one of the ff:
(a) Rhythmic use of color movement of the eye across a painting from spot to spot of
similar color.
(b) Rhythmic use of line repetition of a similar type of line in a piece of sculpture
(c) Rhythmic of motion the movement of dancers
(d) Rhythmic of direction continuity of a series of arches forming an arcade.
4. Emphasis and Focus
Emphasis refers to areas of interest that guides the eye into and out of the image through the use
of sequence of various levels of focal points, primary focal point, secondary, tertiary, etc.
Emphasis hierarchymay give direction and organization to a design, and avoid subconscious
confusion to sometimes improve the design's visual appeal and style. Emphasis hierarchy or
focus is not giving each object in a project equal dominance within a piece of work. Emphasis or
dominance of an object can be increased by making the object larger, more sophisticated, more
ornate, by placing it in the foreground, or standout visually more than other objects in a project.
The primary focus point or area receives the largest emphasis in a room.
5. Contrast and Variety
Contrast is the occurrence of differing elements, such as color, value, size, etc. It creates interest
and pulls the attention toward the focal point.
The use of dissimilar elements, which creates interest and uniqueness. Variety like a painting or
some reflective wood panels added on a plain wall may be used to reduce monotony. Helps
infuse color to a house decor to attempt to increase design beauty.
Our physical impressions are made possible through contrast. We can hear because of the
contrast between silence and sound, because of the difference between the lengths of the sound
waves. We can feel because of the contrast between the quality of objects. The nerves in our
finger tips tell us that some things are cold and smooth whereas others are warm and rough. We
can see a building because of the contrast in the shapes and textures of the surfaces which
enclose space to make architecture.
Typical Contrast:
a. Contrast of form
b. Contrast of line
c. Contrast of size
d. Contrast of tone
Contrast in architectural subject:
a. Contrast of mass
b. Contrast of direction
c. Contrast of character
d. Contrast of treatment
6. Proportion
Proportion involves the relationship of size between objects. Proportion is also relative sizes of
surface areas of different colors. Proportion also depends on functionality of object. Art painting
can be given the correct size in relation to room to make it an effective decorating component or
source of color.
Proportion is a correspondence among the measures of the members of an entire work, and of
the whole to a certain part selected as standard. From this result the principles of symmetry.
Without symmetry and proportion there can be no principles in the design of any temple; that is, if
there is no precise relation between its members as in the case of those of a well shaped man.
Proportion is largely a matter of relationships. It is evident by a comparison which the eye makes
between the size, shape and tone of various objects or parts of a composition. These are certain
geometrical forms which have very definite proportions.
III. HUMAN FACTORS
1. Anthropometrics
Humans interact with their environments based on their physical dimensions, capabilities and
limits. The field of anthropometrics (human measurement) has unanswered questions, but it's still
true that human physical characteristics are fairly predictable and objectively measurable.
Buildings scaled to human physical capabilities have steps, doorways, railings, work surfaces,
seating, shelves, fixtures, walking distances, and other features that fit well to the average
person.
Humans also interact with their environments based on their sensory capabilities. The fields of
human perception systems, like perceptual psychology and cognitive psychology, are not exact
sciences, because human information processing is not a purely physical act, and because
perception is affected by cultural factors, personal preferences, experiences, and expectations.
So human scale in architecture can also describe buildings with sightlines, acoustic properties,
task lighting, ambient lighting, and spatial grammar that fit well with human senses. However, one
important caveat is that human perceptions are always going to be less predictable and less
measurable than physical dimensions.
Human scale in architecture is deliberately violated:
for monumental effect. Buildings, statues, and memorials are constructed in a scale larger than
life as a social/cultural signal that the subject matter is also larger than life. The extreme example
is the Rodina (Motherland) statue in Volgograd (Stalingrad).
for aesthetic effect. Many architects, particularly in the Modernist movement, design buildings that
prioritize structural purity and clarity of form over concessions to human scale. This became the
dominant American architectural style for decades. Some notable examples among many
are Henry Cobb's John Hancock Tower in Boston, much of I. M. Pei's work including the Dallas
City Hall, and Mies van der Rohe'sNeue Nationalgalerie in Berlin.
to serve automotive scale. Commercial buildings that are designed to be legible from roadways
assume a radically different shape. The human eye can distinguish about 3 objects or features
per second. A pedestrian steadily walking along a 100-foot (30-meter) length of department store
can perceive about 68 features; a driver passing the same frontage at 30 mph (13 m/s or 44 ft/s)
can perceive about six or seven features. Auto-scale buildings tend to be smooth and shallow,
readable at a glance, simplified, presented outward, and with signage with bigger letters and
fewer words. This urban form is traceable back to the innovations of developer A. W. Ross
along Wilshire Boulevard in Los Angeles in 1920.
The savant Alphonse Bertillon gave his name in 1883 to a system of identification depending on the
unchanging character of certain measurements of parts of the human frame. He found by patient inquiry
that several measures of physical features, along with dimensions of certain bones, boners or bony
structures in the body, remain fairly constant throughout adult life.
He concluded that when these measurements were made and recorded systematically every single
individual would be found to be perfectly distinguishable from others. The system was soon adapted to
police methods when crime fighters found value in being able to fix a person's identity. It prevented false
impersonation and brought home, to any one charged with an offense, a person's responsibility for a
wrongdoing. After its introduction in France in 1883 "Bertillonage," as it was called, became widely
popular, and credited with producing highly gratifying results. Many countries followed suit in the adoption
of the method, integrating it within their justice systems.
However it was almost a decade before England followed suit when in 1894 a special committee was sent
to Paris for an investigation of the methods used and results obtained with them. It reported back
favorably, especially on the use of measurements for primary classification, but also recommended the
adoption, in part, of the system of "finger prints" as suggested by Francis Galton, and in practice at that
time in Bengal, India.
A chart from Bertillon's Identification anthropomtrique (1893), demonstrating how to take measurements
for his identification system.
There were eleven measurements:
1.
Height
2.
Stretch: Length of body from left shoulder to right middle finger when arm is raised
3.
Bust: Length of torso from head to seat, taken when seated
4.
Length of head: Crown to forehead
5.
Width of head: Temple to temple
6.
Length of right ear
7.
Length of left foot
8.
Length of left middle finger
9.
Length of left cubit: Elbow to tip of middle finger
10. Width of cheeks
From this great mass of details, soon represented in Paris by the collection of some 100,000 cards, it was
possible, proceeding by exhaustion, to sift and sort down the cards till a small bundle of half a dozen
produced the combined facts of the measurements of the individual last sought.
The whole of the information is easily contained in one cabinet of very ordinary dimensions, and most
ingeniously contrived so as to make the most of the space and facilitate the search. The whole of the
record is independent of names, and the final identification is by means of the photograph which lies with
the individual's card of measurements.
As such, it was a difficult job to identify whether or not certain individuals arrested were "first offenders" or
life-long criminals. Photography of criminals had become commonplace but it had proven ungainly, as
there was no coherent way to arrange visually the many thousands of photographs in a fashion which
would allow easy use (an officer would have to sort through them all with the hope of finding one).
Bertillon's hope was that through the use of measurements of the body, all information about the
individual criminal could be reduced to a set of identifying numbers which could be entered into a large
filing system.
Bertillon also envisioned the system as being organized in such a way that even if the number of
measurements was limited the system could drastically reduce the number of potential matches, through
an easy system of body parts and characteristics being labeled as "small", "medium", or "large". For
example, if the length of the arm was measured and judged to be within the "medium" range, and the size
of the foot was known, this would drastically reduce the number of potential records to compare against.
With more measurements of hopefully independent variables, a more precise identification could be
achieved, which could then be matched against photographic evidence. Certain aspects of this
philosophy would also go into Galton's development of fingerprint identification as well.
Anthropometry, however, gradually fell into disfavor, and it has been generally supplanted by the superior
system of finger prints. Bertillonage exhibited certain defects which were first brought to light in Bengal.
The objections raised were:
1.
the costliness of the instruments employed and their liability to become out of order;
2.
the need for specially instructed measurers, men of superior education;
3.
the errors that frequently crept in when carrying out the processes and were all but
irremediable.
Measures inaccurately taken, or incorrectly read off, could seldom, if ever, be corrected, and these
persistent errors defeated all chance of successful search. The process was slow, as it was necessary to
repeat it three times so as to arrive at a mean result. In Bengal, measurements were already abandoned
by 1897, when the finger print system was adopted throughout British India. Three years later England
followed suit; and as the result of a fresh inquiry ordered by the Home Office, finger prints were alone
relied upon for identification.
2. Ergonomics
Egonomics is the science of designing the job, equipment, and workplace to fit the worker.
Proper ergonomic design is necessary to prevent repetitive strain injuries, which can develop
over time and can lead to long-term disability.
The International Ergonomics Association defines ergonomics as follows:
Ergonomics (or human factors) is the scientific discipline concerned with the understanding of
interactions among humans and other elements of a system, and the profession that applies
theory, principles, data and methods to design in order to optimize human well-being and overall
system performance.
Ergonomics is employed to fulfill the two goals of health and productivity. It is relevant in the
design of such things as safe furniture and easy-to-use interfaces to machines.
References:
http://en.wikipedia.org/wiki/Interior_design
http://en.wikipedia.org/wiki/Ergonomics
http://www.valuecreatedreview.com/design.htm
http://en.wikipedia.org/wiki/Design_elements_and_principles
http://books.google.com/books?
id=G_Tt1NDqjF4C&printsec=frontcover&dq=architectural+theories+of+design&hl=
fil&ei=7X4fTMjiM4LRcdXrxZkN&sa=X&oi=book_result&ct=bookthumbnail&resnum=1&ved=0CCkQ6wEwAA#v=onepage&q&f=false
Architectural Theories of Design by George S. Salvan
Architectural Graphic Standards by Ramsey
Architectural Graphics (Fifth Edition) by Francis DK Ching
Interior Design Reference Manual by David Kent Ballast