Principles of Architectural Design Lec. 2.

Transcription

1 Principles of Architectural Design Lec. 2.

2 The Complementary Elements of design. The complementary elements characterize the natural elements, creating means of comparison for the primary elements used in architectural design Colour Light Size Texture Tone / Value Direction

3 Qualities of the Complementary Elements

4 Colour Colour is the character of a surface created by the response of vision to the wavelength of light reflections. Colour has the ability to identify objects, the capacity to affect the human nervous system : evoking different emotions, and creating different moods.

5 COLOUR is an element of design with endless variety. COLOUR is based on a mixture of 3 primary colours, red, yellow and blue. Colour spaces Colour is based on how different colours are mixed. A colour space helps to define how the colours are mixed, based on the medium in which the colors are used. Subtractive: A subtractive color space is the traditional pigment-based colour, as in the mixing of paint. The absence of any pigment produces white, and all pigments blended together produces black. Primary colors: Red, yellow, blue Secondary colors: Orange, green, violet Additive: An additive colour space is an electronic colour space. It is light-based colour, as in the mixing of colour on the computer. The absence of any light is black, the presence of all light, or light at full intensity, is white. Primary colors: Red, green, blue Secondary colors: Yellow, magenta, cyan

6 The vocabulary of colour INTENSITY of colour is its strength and purity. HUE is the quality that separates one colour from another. SATURATION refers to the dominance of hue in the colour. TONE VALUE is the degree of lightness or darkness of a colour, yellow is light, blue is dark. TINTS are made by adding white to a colour. SHADES are made by adding black to a colour.

7

8 Colour harmonies Complementary: A complementary relationship is a harmony of colors whose hues of two colours on the opposite side of the color wheel. Analogous: An analogous relationship is a harmony of colors whose hues are adjacent to one another on the color wheel. Triadic: A triadic relationship is a harmony of three colors equidistant from one another on the color wheel. Primary colors and secondary colors are examples of color triads.

9 Colour s TEMPERATURE Warm colours include: yellows, red and orange we associate these with blood, sun and fire. Cold colours include: violet, blue and green because of our association with snow and ice.

10 Light Light allows to eliminate darkness, and define the world, by day and night: the changing perception of the things or the bodies on which it impacts, and the space that contains them. Colour is a property of light.

11 Illumination : Light also illuminates the local or actual color of the subject. Direction : Light can have direction, it can be either direct, or indirect. Change : Light, or absence of light, can also transform this space in each season, each day of the year, each hour of the day, each moment. Casting Shadows : A light source that shines on an object creating highlights and shadows. Shadow reveals the object.

12 Daylight : from outside in : Sun light Night Lighting : from inside out : artificial

13 Tone / Value Tone-Value - Value is also called Tone - contrast refers to the degree of variation between light and dark. The narrower the range of values, the lower the value contrast. The highest value contrast is obtained using solely black and white.

14 TONE / Value is light and dark the range of lightness and darkness -. TONE / Value is created by a light source that shines on an object creating highlights and shadows. Shadow reveals the object. Light also illuminates the local or actual color of the subject. TONE / Value can give solidity, volume and weight to an image TONE / Value gives the impression of distance and depth. Darker tones come forward and lighter tones go back into the image. TONE / Value Contrast is where light values are placed next to dark values to create contrast or strong differences. TONE / Value Scale is a scale that shows the gradual change in value from its lightest value, white to its darkest value black.

15 TONE can create rhythm, with the eyes jumping from one dark tone to another. TONE / Value is the property of colour. TONE in sculpture is the way it catches the light, so that sharp changes are made by deep corners, and gentle ones by smooth gradual changes.

16 Categories of Tone / Value Tint is adding white to color paint to create lighter values such as light blue or pink. Shade is adding black to paint to create dark values such as dark blue or dark red. High-Key is where the picture is all light values. Low-Key is where the picture is all dark values.

17 Texture TEXTURE is the part of the surface that can be felt or seen. It is the surface quality. It can be rough, smooth, spiky, soft, velvety, regular or irregular, etc.

18 TEXTURE is concerned with touch, how something feels. It can be physical (tactile) or visual. The challenge of seeing texture is mostly based on light. TEXTURE can suggest emotions by linking with the memory of how things feel. TEXTURE can be real, the surface is actually rough or smooth or it can be suggested by the way the surface is treated. Marble Real TEXTURE is the actual texture of an object. It often refers to the material that something is made of, and can be created using some of the design elements. Implied Texture is the where a two-dimensional piece of art is made to look like a certain texture.

19 Size SIZE is about the bigness or smallness of an Area : it is simply the relationship of the area occupied by one shape to that of another. SIZE can give space, it can make closer objects appear larger and make distant objects appear smaller. SIZE can be given by comparing one element that is larger or smaller than the other. SIZE can make a particular element look important.

20 SIZE in nature

21 SIZE and Architecture

22 Direction DIRECTION is about how our eyes move around the artwork. The dominant direction in an artwork has a powerful influence over the atmosphere generated by the artwork. DIRECTION can be horizontal, vertical, spiral, curved, sloped or straight. DIRECTION can have an emotional impact. Using rapid changes in direction or use of diagonals, can cause anxiety while horizontals and verticals bring about calm. DIRECTION can suggest movement by the speed at which it is changed. DIRECTION can be balanced to give stability or imbalanced to give tension.

23 In Architecture

24 Related Concepts There are many additional concepts that are related to the elements of design. These can include specific terms and/or techniques that are in some way based on one or more of the above ideas. In they end, they add to the collection of compositional tools available for use by the designer. Pattern and ornament - Movement Typography - Calligraphy

25 Pattern and ornament - Pattern is the repetition of shape or form. It can also reflect the underlying structure of a design by organizing the surfaces or objects in the composition.

26 There are many different kinds of patterns: Flowing: A flowing pattern is based on the repetition of an undulating line, and reflects a natural meandering through a composition.

27 Branching: A branching pattern is the repetition of forking lines, or patterns of deviation. These kinds of patterns can be found in almost all plants, and in many other places in the natural world.

28 Spiraling: A circular pattern, or a pattern that winds in and around itself.

29 The pattern can either be emphasised, or broken : Emphasising a pattern can accentuate a sense of size and expansion. The idea is to zoom in onto the pattern and fill the frame with it. Emphasized pattern can include faces amongst a crowd, a line of homogenous plants, bricks of a wall, etc Breaking a pattern is all about finding an object that disrupts the continuous flow of a pattern. It can be an object that is in clear contrast with the rest of the objects; be it in shape, color, or even texture. Broken patterns can be found naturally, or some situations can be manipulated to disrupt readily existing patterns.

30 In Architecture

31 Movement Movement can be defined as motion of objects in space over time, and is often described in one of two ways: Literal: Literal movement is physical movement. Examples of literal movement include: Products such as the automobile, motion pictures and dance. Compositional: Compositional movement is the movement of the viewer s eye through a given composition. Compositional movement can be either static or dynamic. Static movement jumps between isolated parts of a composition. Dynamic movement flows smoothly from one part of the composition to another.

32

33 Typography - Calligraphy Typography is the art of arranging typefaces, selecting style, line spacing, layout and design as a means of solidifying language. There are many facets to typography. Some common terms : Baseline: The line on which all letters rest. Beardline: The line reached by the descenders of lowercase letters. Bowl: The round or elliptical parts of a letterform. Cap line: The line reached by the top of uppercase letters. Counter: The white space enclosed by a letterform, whether completely or partially. Extenders: Extenders are the parts of letters that extend either below the baseline (descenders) or above the midline (ascenders). Midline: The top of lowercase letters such as a, c, e and the top of the torso of lowercase letters such as b, d. Serif: A stroke added to either the beginning or end of one of the main strokes of a letter. Stem: The main stroke of a letter that is generally straight and not part of a bowl. Topline: The line reached by the ascenders of lowercase letters. X-height: The distance between the baseline and midline of an alphabet. The x-height is usually the height of the unextended lowercase letters.

34 Approaches

35 In historical Architecture

36 A recent approach Billboards, advertisements, and digital screens mounted on facades

37 Graffiti Art Graffiti : Also known as (Graff) is writing or drawings that have been scribbled, scratched, or sprayed illicitly on a wall or other surface in a public place.