Visual Aspects

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Visual Aspects

  1. 2. STUDIES CARRIED OUT IN BASIC DESIGN [email_address] http://www.arunogalebd.blogspot.com PROF.ARUN OGALE ARCHITECT, PLANNER, SPACE CONSULTANT.
  2. 3. <ul><li>CD PRODUCED BY PROF. ARUN OGAL E </li></ul><ul><li>IN ASSOCIATION WITH B.N.C.A.,M.M.C.A.,B.K.P.S.,PUNE. </li></ul><ul><li>ASSISTED BY </li></ul><ul><ul><ul><ul><ul><li>- MANJUSHA WAGH </li></ul></ul></ul></ul></ul><ul><ul><ul><ul><ul><li>- GAUTAM ATTARDE (Student - MMCA) </li></ul></ul></ul></ul></ul><ul><ul><ul><ul><ul><li>THIS CD IS STICTLY TO BE USED FOR BASIC DESIGN EDUCATIONAL </li></ul></ul></ul></ul></ul><ul><li>PROGRAMME IN ARCHITECTURE AND TO BE USED WITH THE PRIOR </li></ul><ul><li>CONCENT OF PROF. ARUN OGALE </li></ul>
  3. 4. CD D VISUAL ASPECTS
  4. 5. INDEX 1. VISUAL ASPECT PRESENTATION 2. DOT LINE PRESENTATION
  5. 6. 1. VISUAL ASPECTS PRESENTATION
  6. 7. A. SPACE
  7. 8. SPONTANEOUS SPACE
  8. 11. SENCE OF PLACE IN SPACE
  9. 12. ACTIVATION OF SPACE – BLANK SPACE
  10. 13. A DOT ACTIVATES SPACE & BECOMES A FOCUS OR ATTENTION
  11. 14. ONE MORE SIMILAR DOT TENSION IS CREATED
  12. 15. ONE MORE DOT – LIGHTER / COLOURED / TEXTURED TENSION EASES DIRECTS THE MOVEMENT OF EYE EYE MOVES FROM BIGGER TO SMALLER
  13. 16. DISTRIBUTION OF SPACE IN SYMMETRICAL BALANCE DISTRIBUTION OF SPACE IN ASYMMETRICAL BALANCE
  14. 17. FORM INTRUDING IN EMPTY SPACE CARVES INTO A POSITIVE SPACE LEAVING UNOCCUPIED SPACE WHICH WE IDENTIFY AS NEGATIVE SPACE POSITIVE & NEGATIVE SPACES ARE OBVIOUSLY INTERDEPENDENT
  15. 18. BLANK SPACE / EMPTY SPACE DOES NOT RESTRICT THE ATTENTION AS SOON AS FIGURE IS PLACED IT ATTRACTS ATTENTION / PROVOKES EYE MOVEMENT PERCEIVING SPACE SQUARE WITH FIGURE RELATED WITHIN HORIZONTAL VERTICAL LINES TO THE OUTER FRAME- DIVISION OF SPACE PERCIEVED AS 2D IF FIGURE IS RELATED TO CORNERS WITH DIAGONAL LINES – PERCIEVED WITH 3D OBSERVE FEELING OF PULL OF VOLUME IN SPACE
  16. 19. DIVISION OF SPACE VERTICALLY AND HORIZONTALLY GIVES RELATIVE DEVELOPMENT OF SHAPES AND MASSES. SUCH DIVISIONS BRING CREATIVE ORGANISATION OF SPACE
  17. 20. <ul><li>DIVISION OF SPACE BY GRAPH – GRID RESULTS IN </li></ul><ul><li>SPACES WITH CERTAIN MODULES WITH RELATION </li></ul><ul><li>SYSTEMATIZED DESIGN IDEA </li></ul><ul><li>SQUARE QUALITY IS STILL RETAINED </li></ul>
  18. 21. B. STRUCTURE MATERIALS
  19. 22. PHYSICAL FORCES COMPRESSION SHEAR TENSION COMPRESSION SHEAR TENSION
  20. 23. THE RANGE OF FORM WITHIN ANY ONE
  21. 24. STRUCTURAL FAMILY IS RICH & VARIED
  22. 25. COMPRESSION SHEAR TENSION
  23. 26. COLUMNS BEAMS RAFTERS EXTERIOR SPACE INERIOR SPACE FLOORS WALLS ROOF EXTERIOR SPACE OPENINGS AROUND OR THEOUGH PLANES SOLID MASS DLOOR WALLS INTERIOR SPACE HOLLOWED FROM SOLID
  24. 28. STUDY OF CABBAGE STRUCTURE TEXTURE PATTER
  25. 29. C. DOT LINE PLANE
  26. 30. GROUND IS USUALLY LARGER AND SIMPLER THAN FIGURE
  27. 31. CONVEX SHAPES TEND TO BE FIGURE CONCAVE SHAPES TEND TO BE GROUND
  28. 32. UNBROKEN SHAPES TEND TO BECOME FIGURE AND SEGMENTED SHAPES TEND TO BECOME GROUND
  29. 33. WHAT DOMINATES THE EYE IS CONSIDERED AS FIGURE – MORE PASSIVELY DISPLAYED OBJECTS BECOME GROUND
  30. 34. PLACEMENT OF SHAPE AT THE TOP OR BOTTOM OF THE FRONTAL PLANE CAN DETERMINE WHETHER THE SPACE IS PERCEIVED AS FIGURE OR AS GROUND
  31. 35. FIGURE OR GROUND ARE SAME OR NEARLY SAME THIS BECOMES AMBIGUOUS
  32. 36. VISUAL WITH COMPLEXITY OVERWORKED CHAOS DISORDER
  33. 37. CLOSURE LOGO
  34. 38. CLOSURE CLOSURE IS THE RENDENCY OF THE VIEWER TO FILL IN THE SPACES IN AN INCOMPLETE VISUAL IMAGE IN ORDER TO MAKE THAT IMAGE VISUALLY COMPREHENSIBLE MENTALLY COMPLETE – USED CONCEPTUALISING SYMBOLS
  35. 39. HAND MOVEMENT PENCIL STROKES – BALL & SOCKET
  36. 42. POINT / LINE / PLANE A PATTERN OF POINTS PATTERN OF LINES PATTERN OF PLANES
  37. 43. OBLIQUITY OF LINES AND PLANES OF FORM HELPS TO CREATE EFFECT OF DEPTH
  38. 44. GRADED DECREASE IN SPACE IN BETWEEN LINES ADDS TO THE EFFECT OF DEPTH
  39. 45. BRIGHTNESS AND INTENSITY BRINGS THE FORM CLOSER TO US AND CONSEQUENTLY CREATES DEPTH
  40. 46. SCALES OF PROPORTIONS BROAD TO NARROW IN PARALLEL AND OPPOSITE PROCESSION VERTICAL PARALLEL LINES AS CONTRAST IN PROPORTION
  41. 51. VERTICAL HORIZONTAL EMPHASIS DYNAMIC DIRECTIONAL SUBDIVISIONAL TO FORM MORE COMPLEX TRIANGULAR GRID
  42. 52. VARIATIONS IN SIMPLE GRID TEND TO MAKE COMPOSITIONS MORE DYNAMIC GRID WITH MORE COMPLEX AREAS A SHIFT OR DROP GRID, SHIFTING ALTERNATIVE RAWS UP OR DOWN OR SIDE TO SIDE
  43. 53. DECREASE IN SIZE SHOWS INCREASE IN DISTANCE
  44. 54. INCREASE IN NUMBER DECREASES THE DEPTH IN SPACE
  45. 55. OVERLAPPING SUGGESTS RELATING POSITIONS AND DEPTH
  46. 56. IMMAGES DERIVED FROM THE ‘SUBJECT’ AND DEVELOPED WITH THE HELP OF GRID – FORMING SURFACE PATTERN SUCESSFUL VISUAL IMAGES
  47. 57. LINE ANALYSIS OF STILL LIFE
  48. 58. CONTRAST HORIZONTAL/VERTICAL LONG/SHORT BROAD/NARROW IN SQUARE CHARACTER
  49. 59. POINT LINE PLANE VOLUME LARGES SMALL HIGH LOW THICK THIN BROAD NARROW
  50. 60. (a1) (c) MANIPULATION OF LINE.
  51. 61. D. TEXTURE
  52. 62. TEXTURE MATERIALS HAVE TEXTURES TEXTURAL QUALITIES GIVE PHYSICAL REACTIONS WHEN TOUCHED
  53. 63. REGULARLY STRUCTURED IRREGULARLY STRUCTURED
  54. 64. TEXTURE QUALITY & PATTERNS SHADOWS CAUSE PATTERN LIKE VISUAL PERCEPTIONS VISUAL PERCEPTION GETS PATTERNNED WHEN COMPLEX IRREGULAR SLANTING SURFACES ARE PERCEIVED
  55. 67. SURFACE TEXTURE
  56. 68. TONE
  57. 69. PATTERN
  58. 70. OBJECT
  59. 71. E. SENSE OF ARRANGEMENT
  60. 72. GROUPING BY TONE- THE SQUARE OF THE SIMILAR TONE CAN BE SEEN AS BELONGING TO GROUP AS DISTINCT FROM SQUARE OF LIGHTER TONE GROUPING BY SIZE - LARGE SQUARES BELONGING TO GROUP AS DISTINCT FROM SMALLER SQUARES GROUPING BY SHAPES – SIMILAR BELONG TO GROUP
  61. 73. SENSE OF ARRANGEMENT GROUPING BY SHAPES
  62. 74. RANDOM
  63. 75. GROUPING BY PROXIMITY
  64. 76. GROUPING BY TONE
  65. 77. GROUPING BY SIZE
  66. 78. HOW COMPOSITION COULD STAND AS A TOTAL PROXIMITY OR CLOSENESS, NEARNESS IS THE MOST BASIC FORM OF SPATIAL ORGANISATION. WHEN OBJECTS ARE TOGETHER VIEWER TENDS TO GROUND THEM.
  67. 79. PROXIMITY MAY BE OVERPOWERED BY SIMILARITY
  68. 80. SIMILARITY CONCEPTUALLY SIMPLE IT IS A DESCRIPTIVE QUALITY OF A VISUAL CONNECTED WITH SIZE, SHAPE, COLOUR, ORIENTATION, TEXTURE HERE OPPOSITES REPEL AND SIMILAR ATTRACT AND FORM GROUPING.
  69. 81. SIMILAR QUALITIES UNITY WHERE AS DISSIMILAR QUALITIES SEPARATE A COMPOSITION SIMILARLY SOMETIMES MONOTONOUS AND OPPOSITE BECOME CHAOTIC SO BALANCE
  70. 82. STRONG FIGURE GROUND RELATIONSHIP CREATES VISUAL EXCITEMENT ATTRACTS ATTENTION VISUAL COMFORT (PSYCHOLOGICAL) WE TEND TO SIMPLIFY WHAT WE SEE
  71. 84. FIGURE GROUNDRELATIONSHIP AMBIGIOUS SOMETIMES EFFECTIVE
  72. 85. POSITIVE NEGATIVE CHARACTER
  73. 86. STRONG FIGURE GROUND RELATIONSHIP WITH CONTRAST HELP TO COMMUNICATE THE IDENTITY OF CHARACTER PROXIMITY SIMPLEST CONDITION OF ORGANISATION STRENGTHENS THE FORCE OF ATTRACTION BETWEEN PARTS IT EVOKES AND RESULTS IN STABLE -COHERENT - FIGURES
  74. 87. CHINESE PUZZLE TANGRAM
  75. 88. BLOCKING OUT CONTENTS
  76. 89. WHEN SUCH ELEMENTS ARE PLACED ADJACENT TO ONE OTHER IN SUCCESSIVE STAGES, THE FORM GROWS, PATTERN EMERGES.
  77. 90. CHINESE PUZZLE
  78. 91. F. SCALE PROPORTION
  79. 92. HUMAN BODY DIMENSIONS
  80. 94. HUMAN SCALE
  81. 95. GROUPING BY CONTINUITY – TOUCHING SHAPES – PART OF GROUP GROUPING BY PROXIMITY – SHAPES CLOSE – TOGETHER PART OF GROUP THAT EXCLUDES MORE DISTANT ONES GROUPING BY MOTION – THE SHAPES THAT APPEAR TO MOVE ARE GROUPED, AS DISTINCT FROM THOSE SHAPES THAT APPEAR STATIC
  82. 96. ORIGINAL SHAPES TYPES OF SHAPES – COMBINATIONS VARIATIONS ON THE SHAPE COMBINATIONS
  83. 97. THIS SHOWS A TWIG FULL OF LEAVES WITH CONTOURS FILLED WITH BLACK DRAWING INK. THIS PUTS ON EMPHASIS ON THE SHAPES OF THE SELECTED TWIG. ALSO LOOK AT THE ISOLATED SMALL EQUAL SQUARES TWIG – DRAWING INDICATES PATTERN FINDING POSSIBILITIES. SPACE – FILLING WITH NUMBER OF UNITS WITH SMALLER CHARACTERISTICS IS ONE OF THE WAYS OF ORGANISING SPACE HARMONIOUSLY .
  84. 98. PARTHENON COLUMNS WERE DESIGNED TO COMPENSATE FOR THE APPEARENT DISTORTIONS IN STRAIGHT LINES
  85. 99. CULTURE DEVELOPES STYLE MEASUREMENTS STYLE SYSTEM ARE CULTURALY BASED
  86. 100. G. VISUAL EXPERIENCE
  87. 101. SHIFTING IMAGES
  88. 103. PATTERN AND ILLUSION OF SPACE AND MOVEMENT
  89. 104. OPTICAL ILLUSION
  90. 105. MOIRE PATTERN
  91. 111. EMPHASIS AND DIRT
  92. 114. MAJOR AXIS WITHIN VIRTUAL SPACE MINOR AXIS
  93. 115. MAJOR AXIS WITHIN VIRTUAL SPACE MINOR AXIS
  94. 116. MAJOR AXIS WITHIN VIRTUAL SPACE MINOR AXIS
  95. 117. MAJOR AXIS WITHIN FIELD MINOR AXIS WITHIN FIELD APPROXIMATE FIELD BOUNDRIES
  96. 118. WITH MOVEMENT THROUGH SPACE THE CLOSENESS OF OBJECTS CAN BE JUDGED. SINGLE TREE MOVE MORE RAPIDLY ACROSS THE OPTIC ARRAY THAN DISTANT OBJETCS – GROUP OF TREES
  97. 119. SCATTERED POINTS OF ACCENT A THEME ‘THE MEETING’
  98. 120. WILD HORSE & HELPLESS DRIVER ON RATTLING CART
  99. 121. SIMPLE FRACTAL PATTERN IS TRANSFORMED INTO MORE COMPLEX ONE
  100. 122. CHINESE PUZZLE – TOKYO OLYMPICS SYMBOL
  101. 123. LOGO
  102. 124. SOME OF THE PARTS IDENTIFYING THE INDIVIDUAL MODULES RELATIONSHIP ESTABLISHED WITH POSITIVE NEGATIVE AREAS WITHIN ONE MODULE. IDENTIFICATION OF EACH MODULE IS DIFFICULT IN a & b. (a) (b)
  103. 125. 2. DOT LINE PRESENTATION
  104. 238. PROF ARUN OGALE
  105. 239. RESUME NAME PROF. OGALE ARUN VINAYAK AGE 65 YEARS PROFESSION ARCHITECT PLANNER, SPACE CONSULTANT ADDRESS 3/C DHAVALGIRI PARK SOCIETY, NEAR PRATIDNYA HALL,KARVE NAGAR, PUNE – 411052 PH: 020-25438578 E-MAIL [email_address] WEBSITE http://www.arunogalebd.blogspot.com QUALIFICATION G.D.ARCH(MAHARASHTRA) EXPERIENCE WORKED WITH THE NATIONAL DESIGN INSTITUDE AT AHMEDBAD WORKED WITH KANVINDE & RAI ARCHITECTS, NEW DELHI
  106. 240. AFFILIATION FELLOW MEMBER OF THE INDIAN INSTITUTE OF ARCHITECTS NO. F-2610 REGISTEREDWITH THE COUNCIL OF ARCHITECTURE, INDIA NO. F-CA/75/509 PROFESSIONAL STRUCTURAL DESIGNERS & CONSULTANTS ASSOCIATION PRIVATE LIMITED 1008/9, RAHEJA CENTRE, NARIMAN POINT,MUMBAI – 400021, INDIA POSITION HELD DIRECTOR ARCHITECTURE (1987 TO 2001) WORKED ON <ul><li>MASS HOUSING PROJECTS </li></ul><ul><li>MULTISTORIED BUILDINGS </li></ul><ul><li>EDUCATIONAL PROJECTS </li></ul><ul><li>HEALTH/HYGIN COMPLEX </li></ul><ul><li>COMMERCIAL PROJECTS </li></ul><ul><li>INDUSTRIAL PROJECTS </li></ul><ul><li>FOREST AND AGRO DEVELOPMENT </li></ul><ul><li>SCHEMES </li></ul><ul><li>CONSERVATION & RESTORATION </li></ul><ul><li>PROJECTS </li></ul><ul><li>URBAN RENEWAL SCHEMES </li></ul><ul><li>INTERIOR DESIGNING ASSIGNMENTS </li></ul>
  107. 241. POSITIONS HELD AT WORKED MOST OF THE TIME IN VARIOUS THE INDIAN INSTITUTE CAPACITIES FOR THE INDIAN INSTITUTE OF OF ARCHITECTS ARCHITECTS FOR OVER 18 YEAR AS: <ul><li>MEMBER OF THE COUNCIL </li></ul><ul><li>SECRETARY – ENVIRONMENT BOARD </li></ul><ul><li>MEMBER – MEMBERSHIP AND PUBLIC </li></ul><ul><li>AFFAIR BOARD </li></ul><ul><li>MEMBER AND THEN SECRETARY </li></ul><ul><li>BOARD OF ARCHITECTURAL EDUCATION </li></ul><ul><li>CHAIRMAN BOARD OF ARCHITECTURAL </li></ul><ul><li>EDUCATION </li></ul><ul><li>MEMBER – BOARD OF EXAMINATIONS </li></ul><ul><li>STUDENT COUNCILLOR </li></ul><ul><li>REPRESENTATIVE OF IIA ON THE </li></ul><ul><li>COUNCIL OF ARCHITECTURE INDIA </li></ul><ul><li>MEMBER OF VISITING BOARD FOR </li></ul><ul><li>ASSESMENT OF SCHOOL OF </li></ul><ul><li>ARCHITECTURE,COMMON WEALTH </li></ul><ul><li>ASSOCIATION OF ARCHITECTS </li></ul><ul><li>HON. SECRETARY OF IIA </li></ul><ul><li>VICE PRESIDENT OF IIA </li></ul>
  108. 242. <ul><li>VISITING LECTURER IN DESIGN SCHOOLS OF ARCHITECTURE MUMBAI (1971 – 1988) AND NOW IN PUNE FOR LAST FOUR YEARS IN BASIC DESIGNARCHITECTURAL DESIGN AND THESIS </li></ul><ul><li>PAPER SETTER AND EXAMINER FOR UNIVERSITIES/ BOARDS IN INDIA </li></ul><ul><li>WRITTEN MORE THAN 150 ARTICLES ON ART AND ARCHITECTURE IN THE TIMES OF INDIA PUBLICATIONS AND OTHER PUBLICATIONSIN ENGLISH AND MARATHI </li></ul><ul><li>CONTRIBUTED ARTICLES TO PRESIGIOUS BOOKS PUBLISHED BY WELLKNOWN PUBLISHERS </li></ul><ul><li>CONTRIBUTED COMPREHENSIVE ARTICLE ON ‘ ARCHITECTURE IN MAHARASHTRA’ FOR THE SILVER JUBILEE PUBLICATION OF GOVT. OF MAHARASHTRA </li></ul><ul><li>PAPER ON ‘ASPIRATIONS TOWARDS THE PROFESSION’ READ AT THE ARCASIA YOUNG ARCHITECTS CONFERENCE IN MUMBAI </li></ul><ul><li>ATTENDED SEVERAL NATIONAL AND INTERNATIONAL CONFERENCES ON ARCHITECTURE AND PRESENTED PAPERS </li></ul><ul><li>APPEARD IN PRESTIGIOUS TV PROGRAMME ON ARCHITECTURE. ALSO GIVEN SEVERAL LECTURES ON ARCHITECTURE AT SOCIAL AND CULTURAL INSTITUTES </li></ul><ul><li>PREPARED A DOCUMENT AND SYSTEM CHART FOR SIMPLIFICATION OF BUILDING APPROVAL PROCESS AT THE MUMBAI MUNICIPAL CORPORATION, MUMBAI </li></ul>OTHER ACTIVITIES
  109. 243. <ul><li>CONTRIBUTED TO THE DOCUMENT RELATED TO THE ARHITECTURALEDUCATION AND GUIDE LINE CHART FOR ESTABLISHING A SCHOOL OF ARCHITECTURE COVERING ACADEMIC ADMINISTRATION AND FINANCIAL ASPECTS </li></ul><ul><li>PREPARED SUBSTANTIAL DOCUMENTATION RELATED TO STUDIES DEVELOPMENT WORK IN BASIC DESIGN </li></ul><ul><ul><ul><ul><ul><li> </li></ul></ul></ul></ul></ul><ul><ul><ul><ul><ul><li>PROF. ARUN OGALE </li></ul></ul></ul></ul></ul>WE THANK YOU

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