Anthropometry:
In order for one to be a successful designer, an understanding of the different types of human physique is essential. Systems of measurement and proportions have been fashioned on the human body, which is seen as being fundamental to scale and this science of measuring the human body is referred to as anthropometry. Scale in architecture makes buildings intelligible to people and gives a sense of how people relate to buildings.
Orr maintains that there are only three sources for scale in architecture. These are; the scale – giving qualities in materials, nature and the human body (Orr, 1985: 13).Materials such as wood provides easily understood scalar clues due to its textural dexterity. Concrete allows for variety and flexibility
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The patterns and textures that we see and touch influence us psychologically and complicated patterns can be exciting or too stimulating. Orr (1985) stated that patterns and textures used in or on buildings can be established by the ordering of other principles and elements from form, to texture to colour (Fig 3.9). Symmetrical forms are more relaxing than asymmetrical ones but variations need to be used with care because symmetry can be monotonous. Whether lines that we see are straight or curved, the direction in which they are oriented and the number of lines in place influence us psychologically through their symbolic connotations. Straight horizontal lines are calming while multiple horizontal lines around a space can make people feel tense. Straight vertical lines are an indication of stability while straight diagonal lines indicate …show more content…
This can be achieved by the use of texture, rhythm, symmetry, balance and harmony, which all contribute to the visual quality of a space (Plate 3.41). When using patterns on vertical and overhead surfaces, one needs to consider that patterns may make these planes appear to advance or retreat. Mahnke also explores the effect of visual patterns and textures on people and he states that trends are constantly fluctuating but this depends on the fashion trends in interior design or architecture at that particular time. Similarly to Augustin and Day, Mahnke asserts that too much of visual pattern can be distracting and fatiguing and vividly designed patterns can impair productivity and concentration, especially for children s
Alphin describes a messy room which creates sympathy in the reader with visual imagery. This happens when “I look around at my half-made bed with its threadbare pillows exposed... open closet door... notebooks and papers and sports magazines scattered on my desk... loose T-shirts litter the carpet” (Alphin 125). This makes the reader feel bad for Brain since a messy room can be a sign of depression. Similarly, the author uses auditory imagery to create a feeling of being overwhelmed.
Sensory images impact the understanding of events by describing how come things make them feel physically, feelings that the reader can relate to. One example is at the end of Lucas’s dream, he feels “icy hands” push him so deep into a pool where he could no longer see anything from the surface and had no air, making his lungs want to “explode” (Wagamese 29). If the readers were ever to hold their breath for a long time, they too could experience a feeling like what Lucas describes. Reoccurring images enrich the work and hint at its meaning by giving the reader more details about it every time to build the mental image of the carving and explaining the dreams that gave the images meaning (Wagamese
Most of his lines were contour lines which suggested volume. Each of the four walls are symmetrically balanced. In addition the mural shows texture because the lines and shades of light and dark paint makes it look like one could touch whatever is being displayed in the
The 1950s saw the full development of a design movement that is apparently the most critical visual design style of the twentieth century as far as its sweeping effect, its life span, and its scope of pragmatic applications is concerned. The style started in Switzerland and Germany and is often alluded to as Swiss Style, yet it is formally known as the International Typographic Style. Its strength in numerous territories of graphic design covers a twenty-year period from the early 1950s to the late 60s, yet it remains impactful up till the recent times. As Richard Hollis puts forward in his book “Swiss Graphic Design: The Origins and Growth of an International Style, 1920-1965”, the Swiss Style has vital elements that are widespread throughout
The triangles are equilaterals and convey the mood of the overall image, “its shape conveys a serene mood because of symmetrical balance” (Lester, 2014, p. 27). This symmetrical balance that the triangles exerts within the
Each of the three lines share the similarity of rising and to the right in movement. The shape of the 1st line is the most extreme of the three lines rising the fastest. The shape of the second line is less aggressive than the first due to it rising without developing a strong upward curve. The third line is the most consistent of the three rising mostly at an angle with small curvature towards the end. Each line differs the way that they do due to the various amounts of data that creates each line.
J’Lyrick Woods Writing Assignment #1 AR-170 2-D/3-D 2-D-P.50-Figure 1.4-Mel Bochner, Vertigo This conceptual artist has taken basic elements of art such as lines and color and has created this amazing two dimensional artwork, Vertigo. In this artwork the artist uses regular lines, a rhythm of diagonal lines, and a slight tint of an orange in the background of the actual lines. The different directions, overlapping, and crossing of the lines, help imply the chaos and disorder the artist is trying to reveal through this painting.
Lee Teter created his painting Reflections in 1988 using oils on canvas. Just as the title suggests, the painting’s subject is reflections on the Vietnam Memorial Wall. The painting belongs to a private collection owned by Teter himself. In Reflections, Teter depicts a man leaning on the Vietnam Memorial Wall as soldiers reflect back on him, captures on canvas these reflections using muted hues, and immortalizes the loss and struggle of those affected by the Vietnam War.
How did the beauty ideal evolve throughout the years? The ideal of the perfect human body can been seen as a result of culture. Every culture is different or differs in at least a few aspects. A lot of factors in a culture contribute to the formation of a beauty ideal.
(Wilson, 1984; Kellert & Wilson, 1993). Empirical findings from the field of environmental psychology and aesthetics reveals that humans are aesthetically attracted to natural elements and forms. Interaction with those elements and forms is valuable for humans physiological and psychological well-being and cognitive functioning, as it triggers several positive effects as; stress reduction, pain reduction, reduce recovery time after surgery, improve productivity...etc. (Kaplan & Kaplan 1989; Hartig et al., 2003; Ulrich et al. 1991; Ulrich, 1991 &1993; Joye, 2007a, 2007b; Van den Berg, et. al., 2004; Orians & Heerwagen 1992; Heerwagen & Orians,
Each individual perceives a different meaning due to his subconscious each image, color,design.
This also found on some parts of the chair. Theses conflicting uses of lines give the audience a sense of chaos and confusion in the world around the man. Van Gogh, predominantly known for his color usage also
By this he was able to reduce elements into simple shapes, for example he would reduce a leaf or flower to merely a minimal geometric shape. He would then use this original pattern to create new compositions to complete a space. This type of simple yet creative thinking became the guide and source to all his architecture. He would have different elements such as floor plans, decorative arts and elevations that make up an architecture derived and generated from one design concept or theme. When put in a three dimensional perspective all these elements would blend together harmoniously
Tectonics is defined as the science or art of construction, both in relation to use and artistic design. It refers not just to the activity of making the materially requisite construction that answers certain needs but rather to the activity that raises this construction as an art form. It is concerned with the modeling of material to bring the material into presence - from the physical into the meta-physical world (Maulden, 1986). Since tectonics is primarily concerned with the making of architecture in a modern world, its value is seen as being a partial strategy for an architecture rooted in time and place therefore beginning to bring poetry in construction. Tectonics, however, has the capacity to create depth-ness of context resulting in the implicit story being told by the tectonic expression.
In the architectural realm these nonvisual experiences become important in how our space is perceived, how it makes people feel and even perform. The scale of architecture in relation to the person, the sensation a hand feels while touching a handrail, or the sound a person makes on the building as they walk: all of these