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  1. 1. STUDIES IN -- BASIC DESIGN CONCEPTUALISED AND CARRIED OUT BY -- PROF. ARUN OGALE TOPIC – SURFACE STUDIES – DOT AND LINE COMPILED AND PRODUCED BY – AR. SUVARNA VAZE BASIC DESIGN RESEARCH & DEVELOPMENT CELL <ul><li>TOPIC TEXT </li></ul><ul><li>TOPIC EXERCISE BRIEF </li></ul><ul><li>TOPIC EXCERCISE MECHANISM </li></ul><ul><li>STUDENTS WORK </li></ul>
  2. 2. <ul><li>BASIC DESIGN </li></ul><ul><li>TOTAL ARCHITECTURE </li></ul><ul><li>THE BASIC IDEA OF THIS COURSE : IS TO INVOLVE THE STUDENT IN TO THE AWARENESS OF “ SPACE ”. </li></ul><ul><li>THERE ARE TWO MAIN ASPECTS OF ARCHITECTURAL DESIGN. ONE IS VISUAL – TO BE COVERED BY BASIC DESIGN.THE OTHER IS INTELLECTUAL AND ANALYTICAL – TO BE COVERED BY TOTAL ARCHITECTURE. </li></ul><ul><li>THE BASIC ELEMENTS OF VISUAL ASPECTS ARE LIGHT, SPACE, FORM, SURFACE, ALSO SCALE AND PROPORTION. </li></ul><ul><li>THE IDEA IS TO EXPOSE THE STUDENT TO A TOTALITY OF VISUAL EXPERIENCE FIRST, BEFORE MAKING HIM STUDY INDIVIDUAL ELEMENTS OF THE SAME. </li></ul><ul><li>BASIC DESIGN HELPS STUDENTS IN </li></ul><ul><li>CLARIFICATION OF CERTAIN FUNDAMENTAL AREAS OF ENQUIRY. </li></ul><ul><li>REJECTION OF CONVENTIONS AND AN ACCEPTANCE OF IDEA WHICH IS DERIVED FROM STUDENTS OWN EXPERIENCE, INFORMATION THAT STUDENT GETS FROM APPRECIATION OF THE PHYSICAL NATURE OF MATERIALS AND THEIR FORMAL AND SPACIAL FUNCTIONING </li></ul><ul><li>DEVELOP THE PERSONAL ENQUIRY ON THE BASIS OF EXPERIENCE – NOT THEORY. </li></ul>
  3. 3. <ul><li>THE METHOD ADOPTED IS SEQUENCE OF SPECIALLY DESIGNED EXERCISES TO EXPOSE THE STUDENTS TO EXPERIENCE THE VISUAL ELEMENTS OF DESIGN DIRECTLY. </li></ul><ul><li>THE EXERCISES ARE ON THE BASIS OF CRAFTMANSHIP WHICH IS INDISPENSIBLE AS IT IS THE PRIME SOURCE OF ALL CREATIVE WORK. </li></ul><ul><li>THE STUDENT IS ENCOURAGED BY CONSTANT PERSONAL ATTENTION TO EVOLVE AND DEVELOP HIS OWN SPACIAL CONCEPTS. </li></ul><ul><li>THE EVALUATION IS ON THE BASIS OF THE EXTENT TO WHICH STUDENT HAS BEEN ABLE TO RE DEFINE HIS WORK. </li></ul><ul><li>WHY BASIC DESIGN ? </li></ul><ul><li>TO INVOLVE STUDENTS INTO AWARENESS OF SPACE. </li></ul><ul><li>TO LIBERATE AND STRENGTHEN THE CREATIVE ABILITY OF STUDENTS. </li></ul><ul><li>TO GET RID OF CONVENTIOS, PRECONCEIVED IDEAS. </li></ul><ul><li>TO EVOKE AN INDIVIDUAL RESPONSE IN THE STUDENTS OF VARIOUS TEMPERAMENTS AND TALENTS TO GENERATE THE CREATIVE ATMOSPHERE CONDUTIVE TO ORIGINAL – GENUINE WORK. </li></ul><ul><li>TO EXPLORE ONE’S OWN CREATIVE POTENTIALS TO AQUIRE NATURAL SELF CONFIDENCE. TO DEVELOP PERSONAL ENQUIRY ON THE BASIS OF EXPERIENCE AND NOT THEORY. </li></ul><ul><li>TOTAL ARCHITECTURE - THE OBJECTIVE OF INTRODUCTION OF THIS SUBJECT IS TO EXPLAIN THE INTELLECTUAL PROCESS BEHIND THE STUDY OF ANY DISCIPINE , IN THIS CASE, IT IS ARCHITECTURE. </li></ul>
  4. 4. <ul><li>ANY PROCESS OF LEARNING OR EDUCATION INVOLVES ARTICULATION AND COMMUNICATION WHICH NECESSIATES NOT ONLY CLARITY OF SUBSTANCE TO BE COMMUNICATED BUT ALSO THE UNDERSTANDING OF THE LIMITATIONS OF THE CHOSEN MEDIUM IN WHICH THE COMMUNICATION IS SOUGHT TO BE MADE. </li></ul><ul><li>THE OTHER ASPECT OF THIS SUBJECT IS UNDERSTANDING OF TOTAL </li></ul><ul><li>SCOPE OF THIS DISCIPLINE. </li></ul><ul><li>ATTITUDE ORIENTATION STUDIES ( COURSE) – TAKING UP A COURSE LIKE ARCHITECTURE AFTER SCHOOLING 10+2 – IMPLIES NOT ONLY A CHANGE OF STAGE IN THE PROCESS OF STUDENTS GROWTH , BUT ALSO A DEFINATE DIRECTION TOWARDS SPECIALIZATION IN AN UNFAMILIER DISCIPLINE. THEREFORE IT BECOMES IMPERATIVE TO CULTIVATE A RIGHT KIND OF ATTITUDE TOWARDS UNFAMILIER DISCIPLINE, IN THIS CASE – DESIGN STUDIES – ARCHITECTURE. A TOTAL DIVERSION FROM EARLIER EDUCATIONAL PROCESS. THE PERCEPTIONAL, VISUAL STUDIES AND INTELLECTUAL UNDERSTANDING IS NEATLY PROCESSED. </li></ul>
  5. 5. <ul><li>IN THIS ATTITUDE ORIENTATION STUDIES, RIGHT KIND OF QUALITY OF OVERALL PERCEPTION GETS INCULCATED TO TAKE UP THE BASIC DESIGN STUDIES WHICH FINALLY HELP DEVELOP RIGHT KIND OF ATTITUDE TOWARDS DESIGN STUDIES – ARCHITECTURE. </li></ul><ul><li>FINALLY, BASIC DESIGN UNFOLDS SEVERAL LAYERS OF PERCEPTION, CONCEPTION, REFINEMENT AND ACTUALIZATION OF SPACE AND ITS BASIC VISUAL ELEMENTS. IT ALSO HELPS TO – </li></ul><ul><li>CONTROL </li></ul><ul><li>FREE </li></ul><ul><li>CHOOSE </li></ul><ul><li>DISCRIMINATE, DISCARD , ELIMINATE AND ABOVE ALL “ CREATE ”. </li></ul><ul><li>AD INVOLVES STRUCTURING OF ‘SPACE’ WITH RESPECT TO FUNCTION AND SITE. </li></ul><ul><li>AD IS A PROCESS OF INTEGRATING FUNCTION, STRUCTURE AND SITE, ALSO ENVIRONMENT INTO ONE SPACIAL CONCEPT. </li></ul>
  6. 6. <ul><li>THE TRANSITION FROM BD TO AD IS VERY CRUCIAL AS ADDITIONAL CONSTRAINTS OF FUNCTION, STRUCTURE, AND SITE – CAN BE INHIBITING AND OVERWHELMING, BUT THEIR RECOGNITION, UNDERSTANDING AND RESOLUTION IS A CHALLENGING TASK. IT NEEDS TO BE HANDLED CAREFULLY AS THE SPECTRUM OF ARCHITECTURAL DESIGN MAGNIFIES SLOWLY INTO MANY ASPECTS LIKE – </li></ul><ul><li>PHYSICAL </li></ul><ul><li>INTELLECTUAL </li></ul><ul><li>VISUAL </li></ul><ul><li>ENVIRONMENTAL </li></ul><ul><li>SCIENCE AND TECHNOLOGICAL </li></ul>
  7. 7. <ul><li>BD – I TOPICS </li></ul><ul><li>FRAME WORK OF COURSE IN ARCHITECTURAL EDUCATION. </li></ul><ul><li>ATTITUDE ORIENTATION COURSE. </li></ul><ul><li>STUDENTS , TEACHERS INTERACTION – OUTDOOR EXERCISE. </li></ul><ul><li>INTRODUCTION TO ARCHITECTURE </li></ul><ul><li>INTRODUCTION TO BASIC DESIGN – INTERACTION + STUDIO PROCESS </li></ul><ul><li>EXPLAINING – CONCEPT OF MARKS EARNING PROCESS – IT IS YOUR PROPERTY, YOU HAVE TO EARN IT. </li></ul><ul><li>FORMING GROUPS OF STUDENTS ON FEW MAJOR CRITERIAS TO SEE THAT ALL GROUPS ARE ALMOST EQUAL. </li></ul><ul><li>COSMIC ENERGY AND EMERGED UNIVERSE, LIFE. </li></ul><ul><li>LIFE IS EXPERIENCE AND EXPRESSION. </li></ul><ul><li>LIFE IS LIVING AND LIVING NEEDS SPACE. </li></ul><ul><li>SPACE IS THE ESSENCE OF ARCHITECTURE. </li></ul><ul><li>SPACE IS ARCHITECTURE. </li></ul><ul><li>‘ LA O TSE ’ EXPLAINS THE IMPOTANCE OF SPACE – VOID , EMPTYNESS, VERY SIMPLY INFACT THE ESSENSE THE WHEEL LIES IN ITS SIMPLICITY. </li></ul><ul><li>THIRTY SPOKES MEET AT THE HUB, BUT THE VOID WITHIN THEM CREATES THE ESSENSE OF WHEEL. </li></ul><ul><li>CLAY FORMS THE POT, BUT THE VOID WITHIN CREATES THE ESSENSE OF THE POT. </li></ul><ul><li>WALLS WITH DOORS AND WINDOWS MAKE THE HOUSE BUT THE VOID WITHIN CREATES THE ESSENSE OF THE HOUSE. </li></ul>
  8. 8. <ul><li>FUNDAMENTALLY, THE MATERIAL CONTAINS THE UTILITY. THE IMMATERIAL CONTAINS THE ESSENSE. </li></ul><ul><li>SPACE – ANYTHING THAT CAN BE OCCUPIED. </li></ul><ul><li>TO BE ABLE TO CONCEIVE THE SPACE, ONE NEEDS TO PERCEIVE THE FORM. </li></ul><ul><li>TO BE ABLE TO PERCEIVE THE FORM, ONE NEEDS TO KNOW THE CONSTUCTION. </li></ul><ul><li>FOR KNOWING THE CONSTRUCTION ONE NEEDS TO HAVE A FEEL FOR MATERIALS. </li></ul><ul><li>ALSO SURFACE TEXTURE , PATTERN , COLOUR. </li></ul><ul><li>AS ALSO SCALE AND PROPORTION. </li></ul><ul><li>AND FINALLY , MOST IMPORTANTLY – THE LIGHT. </li></ul><ul><li>UNIVERSE AND EVOLUTION OF MAN / NATURE / JOY. </li></ul><ul><li>CONCEPT OF SHELTER – PHYSICAL NEED BUT ABOVE THAT PSYCOLOGICAL REQUIREMENT – IT IS A DESIRE OF HUMAN BEING. </li></ul><ul><li>SPACE – CONCEPT EMERGES SINCE THE INCEPTION IN MOTHERS WOMB, INFANT’S COMING OUT IN THE WORLD, INTRODUCTION TO THE LIGHT, SPACE IN COVERED CRADLE, WHEN UNCOVERED DISTANT SPACE. THEN MAKING OUT OWN SPACE - CHILDREN PLAY BHATUKALI. SPACE APPROPRIATENESS OF SPACE , JUST ENOUGH SPACE FOR EFFECTIVE FUNCTIONINIG OF HUMAN BEING / JOY. ARCHITECT DESIGNS – CONCEIVES SUCH SPACES. </li></ul>
  9. 9. <ul><li>EXPERIENCE AND EXPRESSIONS (EXE.1) </li></ul><ul><li>ARCHITECTURE IS ALSO EXPERIENCE. </li></ul><ul><li>SENSES , SENSITIVITY SENSATIONS AND CREATIVITY. (EXE. 2) </li></ul><ul><li>VISUAL ARTS AND PERFORMING ARTS – SPACE IS THE ESSENSE. </li></ul><ul><li>DIFFERENCE BETWEEN ARCHITECTURE AND OTHER ARTS. </li></ul><ul><li>SURFACE STUDIES – DOT TO LINE TO PLANE (SURFACE) TO SHAPE TO FORM TO SPACE </li></ul><ul><li>LINES – EXPRESS . EVERY LINE HAS ITS OWN TALE TO TELL YOU. MOVEMENT OF HAND AND LINE. MOTIVATION OF LINE - EMERGING – TEXTURE AND PATTERNS. (EXE. 3) </li></ul><ul><li>BINDU, SHUNYA, DOT – HINDU PHYLOSOPHY, LINE EXPRESSIONS (EXE. 4) </li></ul><ul><li>COLLECTION OF MATERIALS, THEIR COLOURS , TEXTURES, PATTARNS. UNDERSTANDING MATERIALS, THEIR PROPERTIES , QUALITIES. </li></ul><ul><li>VISUAL AND TACTILE ASPECTS OF VARIOUS MATERIALS TO BE STUDIED AND ARRANGED TO STUDY VARIOUS COMBINATIONS WITH THE EXTENT OF THEIR SHAPES, SIZES COLOUR, TEXTURE AND PATTERNS – AND PLACEMENT SIDE BY SIDE TO CREATE INTERESTING SITUATIONS (EXE.5) INCLUDING THEIR TACTILE SENSATIONS. </li></ul><ul><li>CREATIVE ACTIVITY BEGINS WHEN A TENSION IS CREATED BY INTRODUCING A MARK ON A BLANK SURFACE WITH DIFFERENT CHARACTERISTICS. COUNTER TENSIONS, MOVEMENTS – TO CREATE MORE AND MORE INTERESTING SITUATIONS. </li></ul><ul><li>TOTAL FORM OF ARRANGEMENT GETS ENLIVED INFACT THAT IS OUR INTENTION TO FORM A HARMONIOUS, UNIFIED AND EXISTING WHOLE. </li></ul>
  10. 10. <ul><li>FOCAL POINT – DARSHAN AND WORSHIP ARE TWO ESSENTIAL ASPECTS OF OUR RELIGIOUS LIFE IN INDIA. </li></ul><ul><li>IDEA OF FOCAL POINT OF SCULPTURE, PAINTING , PHOTOGRAPH OR ANY VISUAL ART. </li></ul>
  11. 11. <ul><li>TOPIC EXERCISE BRIEF AND MECHANISM – </li></ul><ul><li>-------------------------------------------------------------------------------------------------- </li></ul><ul><li>EXE.NO. 1 – </li></ul><ul><li>VISITING A PLACE AND MEETING A PERSONALITY. </li></ul><ul><li>NARRATE YOUR OWN EXPERIENCE ON A FULLSCAPE PAPER. </li></ul><ul><li>EXE. NO. 2 – </li></ul><ul><li>IMAGINE THE EXPERIENCE AND NARRATE THE SAME ON FULLSCAPE PAPER. </li></ul><ul><li>TOPIC TEXT -- . EXPERIENCE AND EXPRESSIONS </li></ul><ul><li>PREAMBLE : </li></ul><ul><li>-------------------------------------------------------------------------------------------------- </li></ul><ul><li>CREATIVE ACTIVITY BEGINS WHEN TENSION IS CREATED BY INTRODUCING A MARK OR AN ACT IN THE OPEN – SPACE (EMPTY SURFACE) </li></ul><ul><li>THEN WE ADD NEWER MARKS WITH DIFFERENT CHARACTERISTICS TO CREATE COUNTER TENSIONS, MOVEMENTS TO CREATE MORE AND MORE INTERESTING SITUATIONS. </li></ul><ul><li>FINALLY IT IS OUR INTENTION WHICH ENLIVES THE TOTAL FORM OF ORGANISATION. </li></ul><ul><li>PERHAPS IT SHOULD FORM A HARMONIOUS, UNIFIED AND EXCITING –INTERESTING – WHOLE. </li></ul>
  12. 12. <ul><li>I HAVE EXPLAINED SPACE </li></ul><ul><li>SPACE IS THE ESSENCE OF ARCHITECTURE , IN FACT ARCHITECTURE IS </li></ul><ul><li>“ SPACE” </li></ul><ul><li>I HAVE EXPLAINED THE CONCEPT OF SPACE – APPROPRIATE SPACE </li></ul><ul><li>FINALLY THE QUALITY OF SPACE AND THAT </li></ul><ul><li>ARCHITECT CONCIEVES / DESIGNS SPACES – FOR HUMAN FUNCTIONS , </li></ul><ul><li>FOR THE EFFECTIVE FUNCTIONING OF HUMAN BEING SO THAT HE ENJOYES HIS </li></ul><ul><li>WORK. </li></ul><ul><li>HIS MIND, BRAIN, CAPACITY TO CONCEPTUALISE FIVE SENSES AND FIVE BODY </li></ul><ul><li>ORGANS TO ACT – ALL FACULTIES ARE INSPIRED TO ACT. </li></ul><ul><li>I HAVE ALSO TRIED TO EMPHASIZE THAT MAN’S IDEA OF CREATING SHELTER – IS </li></ul><ul><li>NOT ONLY THE OUTCOME OF NEED (NOT ONLY NEED-BASED), </li></ul><ul><li>BUT MOST IMPORTANTLY (IT WAS) AND IT IS THE DESIRE OF MAN TO BE IN </li></ul><ul><li>APPROPRIATE SPACE – </li></ul><ul><li>“ A QUALITY OF SPACE” </li></ul><ul><li>WHERE ALL FACULTIES CAN GET EVOKED AS THEY CAN NEGOTIATE WITH THE </li></ul><ul><li>SPACE ABOVE AND AROUND. </li></ul>
  13. 13. <ul><li>WE DISCUSSED WITH STUDENTS ABOUT WORKING OUT SPACE – WITH THE HELP OF – </li></ul><ul><li>FORM </li></ul><ul><li>STRUCTURE </li></ul><ul><li>CONSTRUCTION </li></ul><ul><li>MATERIALS </li></ul><ul><li>SURFACES – COLOURS , TEXTURES , PATTERN </li></ul><ul><li>SCALE AND PROPORTION </li></ul><ul><li>AND FINALLY AND THE MOST IMPORTANTLY , </li></ul><ul><li>THE LIGHT </li></ul><ul><li>THE EMPHASIS IS ON ORGANISATION OF THESE ASPECTS TO ENHANCE THE </li></ul><ul><li>QUALITY OF “SPACE” </li></ul>
  14. 14. EYE + MIND + BRAIN + SENSES + ORGANS <ul><li>IT WAS EXPLAINED TO THE STUDENTS THAT TEACHERS WOULD DISCUSS WITH YOU TIME TO TIME AND WITH INTENSE INTERACTION DRIVE YOU TO THE INTERESTING, MORE AND MORE INTERESTING SITUATIONS TO ARRIVE AT. THEY WOULD ENCOURAGE YOU TO REFINE YOUR IDEA BUT WOULD NOT GIVE DIRECT SOLUTION. </li></ul><ul><li>SO WITH THIS UNDERSTANDING , WE ENTERED INTO THE STUDIES OF BASIC DESIGN. </li></ul><ul><li>‘ SPACE’ BEING THE MAIN CONCEPT BEHIND ARCHITECTURAL EDUCATION, IN CARRING OUT ‘BD’ PROCESS, THE THEME IS -- </li></ul><ul><li>‘ LIFE AND SPACE ’ </li></ul><ul><li>WE ALSO EXPLAINED ABOUT “ BASIC DESIGN” AND THAT IT DEALS WITH THE VISUAL AND INTELLECTUAL ASPECTS OF ‘DESIGN’. ALSO EXPLAINED THE CONCEPT , COMPLETE METHODOLOGY , MECHANISM OF CONDUCTING BD IN STUDIO. </li></ul><ul><li>ALSO UNFOLDED THE IDEA OF TEACHING AND LEARNING THROUGH THE MEDIUM OF EXERCISES i.e. WITH DIRECT EXPERIENCE EXPLORING THE ‘ESSENCE’ OF THE TOPIC i.e. VISUAL ASPECTS. </li></ul><ul><li>ALL THESE PROCESSES THEY HAVE TO GO THROUGH ON THEIR OWN – WORK WITH HAND , EXPERIMENT , EXPLORE AND GENERATE THEIR OWN UNDERSTANDING , THEREBY ATTITUDE WITH THE HELP OF COMPLETE SENSE OF PERCEPTION. </li></ul>
  15. 15. <ul><li>SURFACES DO AFFECT / INFLUENCE SPACE , SO THEY NEED TO BE APPROPRIATLY WORK OUT TO ENHANCE THE QUALITY OF SPACE. </li></ul><ul><li>NATURE HAS GIFTED MAN – A MIND , BRAIN, CAPACITY TO CONCEPTUALIZE , ALSO FIVE SENSES , FIVE BODY ORGANS TO ACT. </li></ul><ul><li>SO MAN REFUSED TO WALK ON FOUR LEGS , INSTEAD HE USED TWO OF HIS LEGS AS HANDS. </li></ul><ul><li>HIS OWN EXPERIENCE UNFOLDED VARIOUS IDEAS OF LIVING. HE SAW, LOOKED, OBSERVED, EXPLORED, EXPERIMENTED, TRIED TO KNOW , UNDERSTAND AND DEVELOPED – THAT’S HOW MAN PROGRESSED. </li></ul><ul><li>WHATEVER HE EXPERIENCED ,HE TRIED TO EXPRESS. THAT IS HOW VISUAL AND PERFORMING ARTS EMERGED AND DEVELOPED. </li></ul><ul><li>THE FIRST TOPIC TAKEN IS </li></ul><ul><li>‘ EXPERIENCE AND EXPRESSION’ </li></ul><ul><li>HOW DOT, LINE AND THEIR VARIETY OF VERSIONS ( DRAWINGS) CREATE SEVERAL EXPRESSIONS AND HOW EVERY LINE (WHETHER STRAIGHT , CURVED, HORIZONTAL, VERTICAL, ZIGZAG ETC.) HAS IT’S OWN TALE TO TELL. </li></ul><ul><li>THIS KIND OF EXPERIENCE AND EXPRESSIONS – AWAKEN THE SENSES AND THE KIND OF SENSITIVITY AND THEREBY – UNDERSTANDING , AND APPROPRIATE VOCABULARY – ARE DEVELOPED BY THE STUDENTS. </li></ul>
  16. 16. <ul><li>ORIGINES OF FIRST HAND WRITTEN EXPRESSION ( COMMUNICATION) OF MAN LIES IN – DOT , POINT. </li></ul><ul><li>DOT , POINT , BINDI -- a. IN INDIAN PHYLOSOPHY, BINDI – SHOONYA HAS </li></ul><ul><li>SPECIAL SIGNIFICANCE. </li></ul><ul><li>b. IT MEANS NOTHING AND EVERTHING. </li></ul><ul><li>c. THE ENERGY EMERGES FROM SHOONYA AND </li></ul><ul><li>DIMINISHES THEREIN. </li></ul><ul><li>d. A MIND BLOWING CONCEPT SIMILAR TO BLACK HOLE </li></ul><ul><li>OF CONTEMPARARY – ASTRO – PHYSICS. </li></ul><ul><li>SO, </li></ul><ul><li>MAN EXPRESSES, COMMUNICATES THROUGH </li></ul><ul><li>GESTURES – BODY LANGUAGE </li></ul><ul><li>FACIAL EXPRESSIONS </li></ul><ul><li>VOCAL – SOUND </li></ul><ul><li>VOCABULARY / UTTERENCE / LANGUAGE </li></ul><ul><li>WORDS / ALPHABETS / SCRIPT </li></ul><ul><li>DRAWING 2-D / MODEL 3-D </li></ul><ul><li>ELECTRONIC MEDIA </li></ul><ul><li>SATTELITE COMMUNICATION </li></ul>
  17. 17. <ul><li>LINE </li></ul><ul><li>DOT DEVELOPES INTO LINE </li></ul><ul><li>MINIMUM DISTANCE BETWEEN ANY TWO POINTS JOINED = LINE </li></ul><ul><li>STRAIGHT ZIG-ZAG CONTINUOUS </li></ul><ul><li>HORIZONTAL LONG PARALLEL </li></ul><ul><li>VERTICAL SHORT PERPENDICULAR </li></ul><ul><li>ANGULAR THICK OBLIGUITY </li></ul><ul><li>CURVED THIN DEPTH </li></ul><ul><li>DOT – THICK , THIN , LIGHT , WEIGHTY , CONTENTMENT TO ITSELF , INDICATES NO GROWTH , CONCENTRATION. </li></ul><ul><li>WHEN OUR SIGHT IS TRAVELLING IN VOIDS , IT ACTUALLY JUMPS </li></ul><ul><li>FROM ONE DOT TO OTHER DOT. </li></ul><ul><li>OUR EYES FEEL MORE RELAXED , RELEAVED IN VOID – EMPTYNESS </li></ul><ul><li>……………………… </li></ul><ul><li>……………………… </li></ul>
  18. 18. <ul><li>CHARACTER </li></ul><ul><li>LINEAR ------------------------------- </li></ul><ul><li>CONTINUOUS ------------------------------- </li></ul><ul><li>PROGRESSION ---- ---- ---- ---- ------ ------- -------- --------- </li></ul><ul><li>DIRECTIONAL  ---------------------------  </li></ul><ul><li>EQUI SPACED -------- --------- --------- ------ </li></ul><ul><li>UN EQUI SPACED -------- --------- --------- ---------- ---------- ------- </li></ul><ul><li>FLOW </li></ul><ul><li>CURVED </li></ul><ul><li>RHYTHM </li></ul><ul><li>PATTERN </li></ul><ul><li>DISPLACEMENT </li></ul><ul><li>SENSE OF VOLUME </li></ul><ul><li>-------------------------- </li></ul>
  19. 20. <ul><li>LINES ARE EXPRESSIVE – WHETHER STRAIGHT , CURVED , THICK , THIN , THEY ALL HAVE THEIR OWN TALES. </li></ul><ul><li>EACH EXPRESSION OF LINE VARIES ACCORDING TO ITS CREATORS EMOTIONS. </li></ul><ul><li>LINES EQUISPACED RESULT IN MONOTONY. </li></ul><ul><li>CHANGE IN THE SPACING CREATES INTEREST. </li></ul><ul><li>FLOWING LINE – THERE EMERGES MOVEMENT , RHYTM , ALSO IT CRATES SENSE OF ‘VOLUME’ AND ‘EXPANCE’. </li></ul><ul><li>FLOW ALSO CREATES TEXTURE. </li></ul><ul><li>OBLIGUITY OF LINES AND PLANES – EFFECT OF DEPTH. </li></ul><ul><li>GRADED DECREASE IN SPACES BETWEEN LINES ADDS TO THE EFFECT OF </li></ul><ul><li>‘ DEPTH’ </li></ul><ul><li>PROMINENT </li></ul><ul><li>NOT VERY PROMINENT </li></ul><ul><li>LINE TRANSFORMATION INTO SHAPE </li></ul><ul><li>STATIC / DYNAMIC ---------- </li></ul><ul><li>DOT LINE PLANE PATTERN RHYTHM FORM </li></ul>
  20. 22. STATIC LINES, DOTS, SHAPES CAN BE MOTIVATED BY DISLOCATING , SHIFTING AND ROTATING THEM. THE IDEA OF GROWTH STARTS WHERE CONTINUOUS LINE BEGINS. AS IT PROCEEDS TO OCCUPY SPACE , RELATIVE FORMS AND SENSE OF GROWTH ARE DEVELOPED. <ul><li>LINES CREATE -- DEPTH , REPETATION , RHYTHM , PATTERN , MOVEMENT , </li></ul><ul><li>FLOW AND CONFUSION. </li></ul><ul><li>IMPORTANT RENDERING OF VARIETY OF LINES RESULT IN TEXTURE ,PATTERN , VOLUME , EXPANCE. </li></ul><ul><li>STATIC DOTS , LINES , SHAPES CAN BE MOTIVATED BY DISLOCATING, SHIFTING , ROTATING , MOVEMENTS. </li></ul><ul><li>DOT , LINE – OCCUPIES SPACE / SURFACE. </li></ul><ul><li>-- RELATED FORMS ARE DEVELOPED. </li></ul><ul><li>-- SENSE OF GROWTH. </li></ul><ul><li>DOT ACTIVATES SURFACE / SPACE. </li></ul>
  21. 23. <ul><li>BLACK LINES , WHITE BACKGROUND AT EVEN DISTANCE </li></ul><ul><li>CREATES GREY TONE. </li></ul><ul><li>VARIETY OF TONES CAN BE ACHIEVED BY CHANGING THE </li></ul><ul><li>PROPORTION OF BLACK WITH CHANGE IN DISTANCE </li></ul><ul><li>(SPACING) BETWEEN LINES. </li></ul><ul><li>PERCEIVING SURFACE </li></ul><ul><li>ONE CAN RELATE THE SMALLER SQUARE TO THE OUTER </li></ul><ul><li>FRAME OF THE SURFACE AND VISUALLY DIVIDE THE </li></ul><ul><li>SURFACE. THE DEVISIONS ARE IN RELATION WITH EACH </li></ul><ul><li>OTHER. </li></ul><ul><li>ON THE OTHER HAND , SAME SQUARE JOINED DIAGONALLY </li></ul><ul><li>TO THE FOUR CORNERS OF THE SQUARE FRAME , GIVES </li></ul><ul><li>THE FEELING OF VOLUME. </li></ul>
  22. 24. <ul><li>SMALLER SQUARE PULLS VOLUME – BACKWARD </li></ul><ul><li>BIGGER SQUARE PULLS VOLUME – FORWARD </li></ul><ul><li>EMPTY SPACE – SURFACE DOES NOT RESTRICT THE </li></ul><ul><li>ATTENTION TO A PERTICULAR POINT OR FIGURE. </li></ul><ul><li>PLACEMENT OF FIGURE OR MARK ANYWHERE (IN THE </li></ul><ul><li>FRAME) WITHIN SURFACE ATTRACTS THE ATTENTION AND </li></ul><ul><li>PROVOKES EYE – MOVEMENT AROUND THE MARK. </li></ul><ul><li>IT ACTIVATES SPACE – SURFACE </li></ul><ul><li>( ENERGY FIELD GETS CREATED) </li></ul>
  23. 25. ACTIVATION OF SPACE – BLANK SPACE
  24. 26. A DOT ACTIVATES SPACE & BECOMES A FOCUS OR ATTENTION
  25. 27. ONE MORE SIMILAR DOT TENSION IS CREATED
  26. 28. ONE MORE DOT – LIGHTER / COLOURED / TEXTURED TENSION EASES DIRECTS THE MOVEMENT OF EYE EYE MOVES FROM BIGGER TO SMALLER
  27. 29. 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
  28. 30. HAND MOVEMENT PENCIL STROKES – BALL & SOCKET JOINT
  29. 32. MOTIVATION OF LINE
  30. 33. POINT / LINE / PLANE A PATTERN OF POINTS PATTERN OF LINES PATTERN OF PLANES
  31. 34. OBLIQUITY OF LINES AND PLANES HELPS TO CREATE EFFECT OF DEPTH
  32. 35. GRADED DECREASE IN SPACE IN BETWEEN LINES ADDS TO THE EFFECT OF DEPTH
  33. 36. BRIGHTNESS AND INTENSITY BRINGS THE FORM CLOSER TO US AND CONSEQUENTLY CREATES DEPTH
  34. 37. SCALE OF PROPORTIONS BROAD TO NARROW IN PARALLEL AND OPPOSITE PROCESSION VERTICAL , PARALLEL LINES AS CONTRAST IN PROPORTION
  35. 40. BLACK LINES , WHITE BACKGROUND AT EVEN DISTANCES CREATE A GREY TONE. VARIETY OF TONE CAN BE ACHIEVED BY CHANGING THE PROPORTION OF BLACK WITH CHANGES OF DISTANCE BETWEEN THEM.
  36. 42. VERTICAL HORIZONTAL EMPHASIS DYNAMIC DIRECTIONAL SUBDIVISIONAL TO FORM MORE COMPLEX TRIANGULAR GRID
  37. 43. 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
  38. 44. STUDIES IN -- BASIC DESIGN CONCEPTUALISED AND CARRIED OUT BY -- PROF. ARUN OGALE TOPIC – FOCAL POINT AND AXIS COMPILED AND PRODUCED BY – AR. SUVARNA VAZE BASIC DESIGN RESEARCH & DEVELOPMENT CELL <ul><li>TOPIC TEXT </li></ul><ul><li>TOPIC EXERCISE BRIEF </li></ul><ul><li>TOPIC EXCERCISE MECHANISM </li></ul><ul><li>STUDENTS WORK </li></ul>
  39. 45. WHEN YOU VISIT THE TEMPLE AND LOOK AT THE IDOL / DAITY, EXACTLY WHERE YOUR EYES FIRST ROLL OR REST ? <ul><li>THIS IS A VERY NORMAL COMMON EXPERIENCE. WHEN YOU LOOK AT THE SCULPTURE , THIS HAPPENS BECAUSE IN REALITY , THE LIFE IN OUR BODY IS MORE LIVELY – SEEN – FELT ONLY THROUGH EYES. WE ALWAYS TRY TO RE-EXPERIENCE AND COMPARE “ MATTER “ WITH LIVELY LIFE. </li></ul><ul><li>WE IMITATE OUR OWN LIFE AND NATURE WHEN WE PLAY WITH OUR HAND WITH “MATTER”. </li></ul><ul><li>WE SEE ALL ASPECTS OF LIFE IN THE MATTER WHEN WE TRY AND VISUALISE “MATTER”. </li></ul><ul><li>BECAUSE LIFE IS VITAL TO US , WHEN WE TRY BEYOND ‘LIFE’ , THERE EMERGES ABSTRACTION BUT THERE AGAIN WE TRY TO PUT LIFE IN IT – FOR TRANSFORMING INTO MEANINGFUL ABSTRACTION. </li></ul><ul><li>THAT IS THE VITAL ENERGY FOR US TO BE ABLE TO EXIST. </li></ul><ul><li>THIS ENERGY ENERGISES OUR MIND , BRAIN , 5 SENSES , 5 BODY ORGANS – AS WE HAVE DISCUSSED. </li></ul><ul><li>WE SEE THIS ENERGY VISUALLY ONLY THROUGH OUR EYES. </li></ul><ul><li>SO LOOKING OF EYES IS A FIRST RELIEF FOR HUMAN MIND. </li></ul><ul><li>IN FACT HUMAN RELATIONSHIPS ARE DEVELOPED WITH THE HELP OF THIS ENERGY FIELD ON OUR FACE – EYES. </li></ul>
  40. 46. <ul><li>THE BEGINNING HAPPENS WHEN THE CHILD LOOKS INTO MOTHERS EYES WITH TREMENDOUS SENSE OF SAFTY / SECURITY, ASSURANCE AND FINALLY AND MOST IMPORTANTLY THE FAITH – (CONFIDENCE) </li></ul><ul><li>SUCH IS THE VITAL IMPULSE OF THIS – OUR FACIAL ENERGY FIELDS. </li></ul><ul><li>THIS ENERGY FIELD HAS TREMENDOUS SPECTRUM OF “EXPRESSION”. </li></ul><ul><li>CALM IMPULSE SUSPISIAN SUFFERENCE </li></ul><ul><li>AAWESH VIKAR- VILASIT PAIN </li></ul><ul><li>ACTIVE JEALOUS DULL/ UNPLESANT </li></ul><ul><li>SENSUALITY JOY ANGER FEAR, UNHAPPY </li></ul><ul><li>LOVE – THE FINAL ENTITY IN LIFE </li></ul><ul><li>YOU MUST HAVE NOTICED ALL THESE “EMOTIONS” , FEELINGS, TEY APPEAR IN YOUR EYES WITHOUT ANY EFFECTS. WHEN THE BODY INCLUDING MIND GETS CHARGED DUE TO SOME EXTRA ORDINARY SITUATION AND ALL OF A SUDDEN FEELINGS GET REFLECTED IN OUR EYES. </li></ul><ul><li>IT IS NATURAL PHENOMENON THAT SOME CHEMICALS WHICH ARE ALSO IN OUR BODY , GET ACTIVATED AND PROJECT A PERTICULAR FEELING IN OUR EYES. </li></ul><ul><li>APART FROM EYES “BHAV” ,”MUDRA”, EVEN BODY LANGUAGE , EAR LOBE, HAIRS , SHIVERING OF BODY, REDDISH / BLUISH SKIN. </li></ul><ul><li>THESE ARE THE SUB-ENERGY FIELDS – THEY EMERGE DEPENDING UPON HOW SENSITIVE ONE IS. </li></ul>
  41. 47. <ul><li>THE WHOLE BODY RESPONDS , REACTS TO CREATE SUCH EXPRESSION </li></ul><ul><li>THE WHOLE BODY RESPONDS , REACTS TO CREATE SUCH EXPRESSION. </li></ul><ul><li>THIS PSYCOLOGICAL / NATURAL PHENOMENON WITHIN OUR BODY ALSO INSPIRES MAN WHEN HE IS CHARGED WITH HIS OWN ENVIRONMENT , THAT’S HOW THE DRAWING , PAINTING , DANCE , MUSIC – SUCH VISUAL AND PERFORMING ARTS COULD FINALLY MAKE THEIR WAY IN HUMAN LIFE. </li></ul><ul><li>SO IT MEANS WE AGAIN COME BACK TO – </li></ul><ul><li>EXPERIENCE </li></ul><ul><li>EXPRESSION </li></ul><ul><li>PERCEPTION – IDEA OF COMPLETE PERCEPTION </li></ul><ul><li>EYE – MIND – BRAIN – 5 SENSES – 5 BODY ORGANS . </li></ul><ul><li>‘ KNOWLEDGE’ , ‘SCIENCE ’ -- </li></ul>
  42. 48. <ul><li>THE POINT IS EVERY PIECE OF ART IS EXPRESSION OF AN ARTIST DEPENDING UPON THE EXPERIENCE OF AN ARTIST , ALSO LIKE CHANDIGADH ,IMAGINE THE EXPERIENCE AND EXPRESS. </li></ul><ul><li>EVERY PIECE OF ART IS TO BE PERCIEVED NOT ONLY WITH EYE , BUT WITH MIND AND BRAIN. </li></ul><ul><li>IN INDIA ‘ PERCEPTION ’ IS THE MOST IMPORTANT ASPECT OF OUR CULTURE AND THEREBY “DARSHAN ” AND “WORSHIP” ARE TWO ESSENTIAL ASPECTS OF OUR RELIGIOUS LIFE. </li></ul><ul><li>MAINLY DARSHAN INVOLVES AN EXCHANGE BETWEEN THE DAITY AND THE WORSHIPER. </li></ul><ul><li>QUALITY OF DARSHAN AGAIN DEPENDS ON FAITH OR TRANSPERANCY OF WOSHIPERS VISION / PERCEPTION. </li></ul><ul><li>KNOLEDGE , SCIENCE – i.e. WELL DEVELOPED EDUCATIONAL ACTIVITIES COULD BE SEEN REFLECTED IN PLANNING OF NALANDA , TAKSHSHEELA. </li></ul><ul><li>OUR LATE PRIME MINISTER PANDIT NEHRU , A VISIONARY WANTED SOME DIRECTION TO THE ARCHITECTURE IN INDEPENDENT INDIA. HE WANTED NEW HOPE , ASPIRATIONS , OF THE INDEPENDENT PEOPLE TO BE REFLECTED IN ARCHITECTURE. WE WERE UNDER MOUGHAL FOR ABOUT 500 YEARS AND UNDER BRITISH RULE FOR 150 YEARS . SO NEW EXPERIENCE FOR THE PEOPLE, BY THE PEOPLE , AND OF THE PEOPLE. SO PANDITJI CALLED C0RBUSIER FOR PLANNING CHANDIGADH. </li></ul>
  43. 49. <ul><li>IN SOME PAINTINGS OVERALL PERFORMANCE OF EACH OF THE ELEMENTS BECOMES – PAINTINGS IN TOTALITY LIKE GURENICA – PICASSO‘S FAMOUS PAINTING – GREATEST TRAGIC PAINTING – A HORRIBLE MASSACARE BY GERMAN BOMBERS – AT SMALL TOWN GURENICA . SEE THE WAY HE EXPRESSES -- MOST POWERFUL PICTORIAL CREATION – REVOLT / CRY / BRUITALITY / BLIND VIOLANCE / DARKNESS / DEATH OF CHILDREN / MOTHERS CRY – AND WHAT NOT THAT TOO ONLY BLACK AND WHITE AND GREY TONES. THE WHOLE PAINTING ITSELF IS AN ENERGY FIELD. </li></ul><ul><li>BUT FOR THE SUCCESSFUL DARSHAN i.e. VISUAL COMMUNICATION – THE DAITY IS CLEANED , PAINTED , ORNAMENTED , CLOTHED , PERFUMED , FLOWERED. </li></ul><ul><li>FOR THIS PRIVILEGED MOVEMENT OF PERCEPTION i.e. DARSHAN – A DIVINE BEAUTY OR ATMOSPHERE IS CREATED. </li></ul><ul><li>SIMILARLY IN PAINTING / PHOTOGRAPH , THE ARTIST EXPRESSES A SITUATION ALSO IN ENVIRONMENT, IN MIND = FEELING = EMOTIONS AND IN HIS VISUALS HE FOCUSES ON CERTAIN ELEMENTS OR FEW ELEMENTS i.e. HOW HE CREATES SOME ART FROM ENERGY FIELDS. </li></ul><ul><li>ENERGY FIELD MEANS LIKE THE CENTRAL COURTYARD IN OUR COLLEGE BUILDING. </li></ul><ul><li>WATCH BANDHANI BY VIMAL ROY. </li></ul>
  44. 50. <ul><li>IT COULD BE ALSO SAID THAT FINALLY COMPOSITION IS THE RESULT OF THE IMPLIED INTERACTION BETWEEN THE VIEWER AND VISUAL PRODUCER. </li></ul><ul><li>i.e. THE AREA OF EMPHASIS WITHIN THE FRAME OR OUTSIDE THE COMPOSITION. </li></ul><ul><li>SO , </li></ul><ul><li>HOW TO APPRICIATE – </li></ul><ul><li>THIS DOES NOT HAPPEN WHEN NATURE CREATES . BECAUSE THE CREATOR </li></ul><ul><li>EXISTS IN ITS OWN CREATION , BUT MAN CANNOT EXIST IN HIS OWN </li></ul><ul><li>CREATION, SO WE HAVE TO WORK OUT THE APPRECIATION. </li></ul><ul><li>SO THE EXERCISE IS VERY SIMPLE. </li></ul><ul><li>TAKE PICTURES , LOOK , SEE , OBSERVE AND FIND OUT THE ENERGY FIELDS AND MOST IMPORTANTLY THE ENERGY FIELD IN THE PICTURE FRAME </li></ul><ul><li>VISUAL PRODUCER – PAINTER , DANCER ORGANISES VISUAL ELEMENTS ARE TO BE ORGANISED TO MAKE THEM INLLEGIBLE ‘ SUBODH’ TO THE VIEWER OR TO CARRY MESSAGE THAT IS TO COMMUNICATE. </li></ul><ul><li>EVERY EXPRESSION IS DEPENDING ON CREATORS FEELING ‘ BHAVANA’ (BHAVANA , VIVASHATA, EMOTION – AFFECTED) </li></ul>
  45. 51. <ul><li>MAJOR AXIS AND MINOR AXIS – </li></ul><ul><li>VISUAL ELEMENTS PLACED ALONG WITH THE AXIS ARE MORE NOTICED.IN CASE OF ARCHITECTURE AND SCULPTURE ,THE MAJOR AND MINOR AXIS MAY AT FIRST SEEM DIFFICULT TO FIND. THE PERCEPTION OF BUILDING AND SCULPTURE CHANGES . THEY ARE SEEN FROM DIFFERENT VIEW POINTS. AS SUCH THEIR AXIS ARE DEPENDING UPON THE ANGLE OF THE VIEWER. </li></ul><ul><li>FACTORS INVOLVED ORGANISING – VISUAL ELEMENTS </li></ul><ul><li>RELATIONSHIP AMONGST ELEMENTS. </li></ul><ul><li>GROUPING CONCEPTS AND SPACE. </li></ul><ul><li>STRUCTURE AND SHAPE. </li></ul><ul><li>ULTIMATELY – OUR OWN QUALITY OF PERCEPTION. </li></ul><ul><li>IN ORGANISING VISUAL ELEMENTS , AREAS OF EMPHASIS ARE ALSO IMPORTANT. </li></ul>
  46. 52. <ul><li>APPRICIATION -- </li></ul><ul><li>FACTORS INVOLVED IN ORGANISING VISUAL ELEMENTS. </li></ul><ul><li>RELATIONSHIP AMONGST ELEMENTS. </li></ul><ul><li>GROUPING CONCEPTS , SYMMETRY CONCEPT , VIRTUAL SPACE. </li></ul><ul><li>STRUCTURE AND SHAPE. </li></ul><ul><li>ULTIMATELY PERCEPTION OF VISUAL PRODUCT. </li></ul><ul><li>AXIS – </li></ul><ul><li>IN MAKING A VISUAL PRODUCT , VISUAL ELEMENTS ARE TO BE ORGANISED TO MAKE THEM INTELLIGIBLE TO YHE VIEWER OR TO CARRY THE MESSAGE THAT IS TO BE COMMUNICATED. </li></ul><ul><li>EACH VIEWER ALSO ORGANISES VISUAL ELEMENTS TO RECEIVE THE MESSAGE OF THE VISUAL PRODUCT. </li></ul><ul><li>THIS ORGANISATION IS THE COMPOSITION OF THE VISUAL PRODUCT. </li></ul><ul><li>COMPOSITION IS NOT FIXED OR STATIC SITUATION. </li></ul><ul><li>A VISUAL PRODUCER ORGANISES VISUAL ELEMENTS ACCORDING TO PAST PERCEPTIONS , EXPERIENCES AND THE CULTURE. </li></ul><ul><li>THE PRODUCER AND THE VIEWER SHARE IN THE CREATION OF A COMPOSITION AND IT IS MUTUAL ACT OF COMMUNICATION. </li></ul><ul><li>DO NOT PRESUME THAT EVERYONE SEES A VISUAL PRODUCT THE SAME WAY. </li></ul><ul><li>THE COMPOSITION IS THE RESULT OF THE INTERACTION BETWEEN THE VIEWER AND THE VISUAL PRODUCT. </li></ul>
  47. 53. <ul><li>AREAS OF EMPHASIS </li></ul><ul><li>MAJOR AND MINOR AXES – VISTUAL ELEMENTS PLACED ALONGWITH AXES ARE MORE NOTICED. </li></ul><ul><li>AN AXIS IS IMPLIED STRAIGHT LINE AROUND WHICH SHAPES MAY SEEM TO ROTATE. </li></ul><ul><li>A FIGURE OR SHAPE MAY BE SYMMETRICAL AROUND AXIS. AN AXIS ALSO BE STRAIGHT LINE IMPLIED BY DIRECTION , MOTION, GROWTH OR EXTENSION. </li></ul><ul><li>WHEN A PERSON BENDS AND LOOKS DOWN FROM AN ERECT POSTURE , THE MAJOR AXIS RUNS THROUGH THE CENTRE OF THE BODY , FROM THE TOP OF THE HEAD TO THE SPACE IN BETWEEN THE FEET. </li></ul><ul><li>THIS IMPLIED LINE DEFINES THE LINE OF ROTATION , THE AXIS OF SYMMETRY, AND YHE LINE OF THE GROWTH OF THE BODY. </li></ul><ul><li>STRECHING ARMS OUTWARD FROM SHOULDER DEFINES THE MINOR AXIS OF THE BODY. </li></ul><ul><li>HIPS ARE LESSER MINOR AXIS. </li></ul><ul><li>BENDING OR STOPPING – CREATES NEW AXIS IN THE BODY. IN FACT EACH NEW CHANGE IN ORIENTATION AND POSITION CREATES NEW SETS OF AXIS. </li></ul>
  48. 54. <ul><li>IN CASE OF ARCHITECTURE AND SCULPTURE , THE MAJOR AND MINOR AXIS MAY AT FIRST SEEM DIFFICULT TO FIND. THE PERCEPTION OF BUILDINGS AND SCULPTURES CHANGES AS THEY ARE SEEN FROM THE DIFFERENT POINTS OF VIEW. AS SUCH THEIR AXES ARE DEPENDING ON ANGLE OF THE VIEWER. </li></ul><ul><li>THE APPROPRIATE VISUAL CENTRE OF ANY VISUAL IS THE AREA OF EMPHASIS WITHIN THE COMPOSITION. ANY VISUAL ELEMENT PLACED AT THE CENTRE IS EMPHASISED BECAUSE OF THAT PLACEMENT. </li></ul><ul><li>NON RECTANGULAR / SQUARE COMPOSITIONS ALSO HAVE APPROXIMATE CENTRES DEFINED BY INTERSECTION OF MAJOR AND MINOR AXIS. </li></ul>
  49. 55. MAJOR AXIS WITHIN VIRTUAL SPACE MINOR AXIS
  50. 56. MAJOR AXIS WITHIN VIRTUAL SPACE MINOR AXIS
  51. 57. MAJOR AXIS WITHIN VIRTUAL SPACE MINOR AXIS
  52. 58. MAJOR AXIS WITHIN FIELD MINOR AXIS WITHIN FIELD APPROXIMATE FIELD BOUNDRIES
  53. 59. WITH MOVEMENT THROUGH SPACE THE CLOSENESS OF OBJECTS CAN BE JUDGED. SINGLE TREE MOVE MORE RAPIDLY ACROSS THE OPTIC ARRAY THAN DISTANT OBJECTS – GROUP OF TREES
  54. 60. STUDIES IN -- BASIC DESIGN CONCEPTUALISED AND CARRIED OUT BY -- PROF. ARUN OGALE TOPIC – CHINESE PUZZLE -- TANGRAMS COMPILED AND PRODUCED BY – AR. SUVARNA VAZE BASIC DESIGN RESEARCH & DEVELOPMENT CELL <ul><li>TOPIC TEXT </li></ul><ul><li>TOPIC EXERCISE BRIEF </li></ul><ul><li>TOPIC EXCERCISE MECHANISM </li></ul><ul><li>STUDENTS WORK </li></ul>
  55. 61. <ul><li>TANGRAM – THE TANS ( PIECES) – THE CHINESE PUZZLE </li></ul><ul><li>INTUITION – EXPERIENCE AND ANALYSIS </li></ul><ul><li>TO DESIGN IS TO PLAN USING INTUTION EXPERIENCE AND ANALYSIS. </li></ul><ul><li>WE TAKE THINGS APART TO SEE HOW THEY WORK AND ONCE WE UNDERSTAND THEM ( THE PARTS ) REASSEMBLE THEM INTO NEW COMBINATIONS. </li></ul><ul><li>FOR EXPERIENCE WE CAN LOOK AT OTHER THINGS AND UNDERSTAND HOW THEY ARE PUT TOGETHER. </li></ul><ul><li>WE CAN SEEK UNIVERSAL QUANTITIES OF THE PARTS THAT HELP US MAKE DECISIONS. </li></ul><ul><li>TAN CAN BE USED TO ABRTACT FIGURES OF HUMAN , ANIMAL OR IN ANIMATE OBJECTS TO CONVEY THE MESSAGE. </li></ul><ul><li>THIS IS ANALOGUS TO ARRANGING THE PARTS OF THE INTERIOR . </li></ul><ul><li>TO EXPRESS A MOOD OR FEELING , INTIMACY, DIGNITY , RELAXATION. </li></ul><ul><li>ANOTHER WAY OF USING TANS IS -- TO EXPLORE THE POSSIBILITIES OF COMPOSING A PERTICULAR GEOMETRIC CONFIGURATION WITH THE 7 PIECES OF THE PUZZLE. </li></ul><ul><li>THIS IS LIKE FITTING THE PARTS OF THE DESIGN INTO A GIVEN SPACE. </li></ul><ul><li>THIRD USE OF TANS IS DESIGN RESEARCH. </li></ul>
  56. 62. <ul><li>WE SEEK OUT THE UNIVERSAL CHARACTERISTICS OF THE ELEMENTS AND FROM THESE ABSTRACTS GENERAL PRICIPLES – </li></ul><ul><li>LIKE – WE FIND THAT ALL THE GIVEN FIGURES , THE ONES THAT ENCLOSES MOST AREA WITH THE LEAST PERIMETER LENGTHIS A “ SQUARE”. </li></ul><ul><li>-- ABSTRACT FIGURES OF PEOPLE , ANIMALS , OBJECTS. </li></ul><ul><li>-- GEOMETRIC CONFIGURATIONS. </li></ul><ul><li>-- UNIVERSAL CHARACTERISTICS – GENERAL PRINCIPLE. </li></ul><ul><li>INTUITION , EXPERIENCE , ANALYSIS -- SOME OF EACH IS USED AT EACH STAGE IN SPEAKING AND FINDING THE SOLUTIONS. </li></ul><ul><li>CAN BE USED IN THE PROCESS OF ARCHITECTURAL DESIGN – AS BUBBLE DIAGRAM. </li></ul><ul><li>THIS CHINESE PUZZLE IS SUCCESSFUL AS VISUAL PUZZLE DUE TO PROXAMITY. </li></ul><ul><li>IT TENDS TO INCREASE THE POWERS OF OBSEVATION BY DISCOVERING THE SIMILARITIES BETWEEN ‘ ABSTRACT , GEOMETRIC AND NATURAL FORMS’. </li></ul><ul><li>THIS PROCESS HELPS YOU TO COMPREHEND ABSTRACTION WHICH IS ESSENTIAL IN THE STUDY OF “ VISUAL SYMBOLS”. </li></ul>
  57. 63. STUDIES IN -- BASIC DESIGN CONCEPTUALISED AND CARRIED OUT BY -- PROF. ARUN OGALE TOPIC – SENSE OF ARRANGEMENT ,ORGANISATION , ORDER. COMPILED AND PRODUCED BY – AR. SUVARNA VAZE BASIC DESIGN RESEARCH & DEVELOPMENT CELL <ul><li>TOPIC TEXT </li></ul><ul><li>TOPIC EXERCISE BRIEF </li></ul><ul><li>TOPIC EXCERCISE MECHANISM </li></ul><ul><li>STUDENTS WORK </li></ul>
  58. 64. <ul><li>UNITY – </li></ul><ul><li>IT CAN BE ACHIEVED TROUGH MAKING THE FORMAL COMPONANTS SUBSERVE A UNIFIED DESIGN CONCEPT . UNITY CAN BE ACHIEVED BY SIMPLEST METHODS OR WITH COMPLEXITIES. </li></ul><ul><li>SIMPLEST – MAY CONSIDERABLY REDUCE OUR INTEREST. </li></ul><ul><li>COMPLEX – IT MAY BE SENSE OF DISCOVERY WHICH WOULD HOLD OUR ATTENTION MUCH LONGER. </li></ul><ul><li>REPETITION – </li></ul><ul><li>IDENTICAL ELEMENTS ARE REPEATED AT REGULAR INTERVLS , CREATES REGULAR RYTHAM BY PROVIDING REPETITION OF SAME VISUAL HAPPENING. </li></ul><ul><li>VARIETY – </li></ul><ul><li>CHANGE IN THE MANNER OF VISUAL HAPPENING OR THE UNIDENTICAL ELEMENTS COULD INVITE GRATER INTEREST. VARIETY COULD BE ANOTHER FORM OF SUBTLE CONTRAST. </li></ul><ul><li>RADIATION – </li></ul><ul><li>STEADY GRADUATION OR GROWTH OF A FORM WHICH CAN START FROM A POINT OR SEVERAL POINTS ALONG THE LINE. </li></ul><ul><li>RYTHAM – </li></ul><ul><li>ESSENTIALLY A FLUIDITY OF A MOVEMENT, AND THIS MOVEMENT IS MADE POSSIBLE BY ARRANGING THE ELEMENTS IN A WORK WHERE THE TREE AND RHYTHMATIC INTERACTIONS ARE NOT OBSTRUCTED. </li></ul>
  59. 65. <ul><li>GRADUATION – </li></ul><ul><li>IT IS REGULATED DECREASE OR INCREASE OF THE VARIABLE SUCH AS SHAPE, SIZE, COLOUR AND TONE. IT IS ASCENDING OR DECENDING ORDER WHICH ADDS TO THE RHYTHM. </li></ul><ul><li>EMPHASIS AND SUBORDINATION – </li></ul><ul><li>IN THE PICTORIAL BALANCE, THERE HAS TO BE AN EMPHASIS OR FOCUS. THIS EMPHASIS BECOMES THE POINT OF ENTRY WHERE EITHER THE MOVEMENT BEGINS OR ENDS. </li></ul><ul><li>PROPORTION – </li></ul><ul><li>IT IS THE ESTABLISHED RELATIONSHIP BETWEEN SIZE AND SHAPE IN RELATION TO THE SPACE INVOLVED IN THE WORK. </li></ul><ul><li>HARMONY – </li></ul><ul><li>IT IS THE HARMONIOUS CO EXISTANCE OF THE VISUAL ELEMENTS , WHERE NONE OF THEM ARE ALLOWED TO DISTURB AND DOMINATE. </li></ul><ul><li>BALANCE – </li></ul><ul><li>IT IS THE EQUAL DISTRIBUTION OF VISUAL WEIGHT IN TERMS OF QUALITY AND QUANTITY. </li></ul><ul><li>THIS CAN BE SYMMETRICAL (FORMAL) </li></ul><ul><li>OR ASYMMETRICAL (INFORMAL) </li></ul><ul><li>WHAT ONE MAY LOOSE IN QUANTITY MAY VISUALLY GAIN WEIGHT THROUGH QUALITY. </li></ul>
  60. 66. <ul><li>COMPARISON SIZE SHAPE COLOUR TONE </li></ul><ul><li>LOCATION DIRECTION </li></ul><ul><li>GROUPING BY TONE- </li></ul><ul><li>THE SQUARE OF THE </li></ul><ul><li>SIMILAR TONE CAN BE </li></ul><ul><li>SEEN AS BELONGING TO </li></ul><ul><li>GROUP AS DISTINCT FROM </li></ul><ul><li>SQUARE OF LIGHTER TONE </li></ul><ul><li>GROUPING BY SIZE - </li></ul><ul><li>LARGE SQUARES </li></ul><ul><li>BELONGING TO GROUP AS </li></ul><ul><li>DISTINCT FROM SMALLER </li></ul><ul><li>SQUARE GROUPING BY </li></ul><ul><li>SHAPES – SIMILAR BELONG </li></ul><ul><li>TO GROUP </li></ul>
  61. 67. <ul><li>CONTINUTY – </li></ul><ul><li>GROUPING ELEMENTS THAT TOUCH , WHICH CREATES A FORE GROUND PATTERN. </li></ul><ul><li>GROUPING BY CONTIGUITY , WHERE SHAPES THAT TOUCH EACH OTHER ARE SEEN AS PART OF A GROUP. </li></ul><ul><li>RANDOM – </li></ul>
  62. 68. <ul><li>PROXIMITY – </li></ul><ul><li>GROUPING BY PROXIMITY , WHERE SHAPES CLOSE TOGETHER ARE SEEN AS PART OF A GROUP THAT EXCLUDES THE MORE DISTANT SHAPE. </li></ul>
  63. 69. <ul><li>CLOSENESS – </li></ul><ul><li>CLOSURE -- </li></ul><ul><li>CLOSURE IS THE </li></ul><ul><li>TENDENCY OF THE </li></ul><ul><li>VIEWER TO FILL IN THE </li></ul><ul><li>SPACES IN AN </li></ul><ul><li>INCOMPLETE VISUAL </li></ul><ul><li>IMAGE IN ORDER TO </li></ul><ul><li>MAKE THAT IMAGE </li></ul><ul><li>VISUALLY </li></ul><ul><li>COMPREHENSIBLE </li></ul><ul><li>MENTALLY COMPLETE – </li></ul><ul><li>USED </li></ul><ul><li>CONCEPTUALISING </li></ul><ul><li>SYMBOLS </li></ul>
  64. 70. <ul><li>SIMLICITY – </li></ul><ul><li>REGULAR , SIMPLE , RELATIVELY SYMMETRIC AND CLOSED RELATIONSHIP. </li></ul><ul><li>ELEMENTS ARE GOUPED WITH FEWEST STRUCTURAL FEATURES. </li></ul><ul><li>UNCONNECTED PARTS ARE MENTALLY CONNECTED – RESULTS IN COMPLETE SHAPE. </li></ul><ul><li>THIS IS ALSO KNOWN AS CLOSURE i.e. VARIATION ON SIMPLICITY. </li></ul><ul><li>NORMALLY GROUPING IS AXIAL. </li></ul><ul><li>CONCEPT MAY BE CALLED AS SYMMETRY. </li></ul><ul><li>GROUPING BY SIMPLICITY. IN THIS CASE, THE SIMPLEST PROCESS IS TO GROUP EACH SET OF FOUR LINES AND TO CONSIDER THEM AS SQUARES. THIS MAY ALSO CALLED CLOSURE. </li></ul>
  65. 71. <ul><li>SUM OF PARTS – </li></ul>
  66. 72. <ul><li>SYMMETRY – </li></ul><ul><li>SYMMETRY PPERATES BOTH AS GROUPING CONCEPT AND AS AN STRUCTURAL CONCEPT. </li></ul><ul><li>A STRUCTURAL CONCEPT ORGANISES ELEMENTS ACCORDING TO LOGICAL RULES , IN THIS CASE SYMMETRY RULES. </li></ul><ul><li>IN SYMMETRY PATTERN ELEMENTS ARE DIVIDED AND / OR REPEATED SYSTEMATICALLY , MATHEMATICALLY OR GEOMETRICALLY. </li></ul><ul><li>ELEMENTS WITHIN THE SYMMETRICAL CONFIGARATION BECOME IDENTIFIED AS FOREGROUND, WITH REST BECOMING THE BACKGROUND. </li></ul><ul><li>REPETITION OF AN ELEMENT ALONG THE AXIS. </li></ul><ul><li>DIRECTIONAL GLIDE PATTERN ELEMENTS ARE PRODUCED IN A LINE. </li></ul><ul><li>TWO DIRECTIONAL GLIDE RESULTS IN A PLANER PATTERN. </li></ul><ul><li>THREE DIRECTIONAL GLIDE YIELDS A NETWORK WHERE ELEMENTS ARE REPEATED IN LENGTH , WIDTH AND DEPTH. </li></ul><ul><li>ROTATION – REPETITION OF ELEMENTS AROUND A CENTRE OR AXIS. </li></ul>
  67. 73. <ul><li>MOTION – </li></ul><ul><li>GROUPING BY MOTION. THE SHAPES THAT APPEAR TO MOVE ARE GROUPED , AS DISTINCT FROM THOSE SHAPES THAT APPEAR STATIC. IN ADDITION, MOVEMENT OF SHAPES IN THE SAME DIRECTION MAY BE ADDED BASIS FOR GROPING. </li></ul><ul><li>GROUPING BY MOVING ELEMENTS. </li></ul><ul><li>MOVEMENT IN THE DIRECTION </li></ul><ul><li>MOVEMENT IN ANY DIRECTION ( CONCEPT) </li></ul><ul><li>FILM , VIDEO , PERFORMING ART , KINETIC SCULPTURE. </li></ul>
  68. 74. <ul><li>GLIDE ROTATION -- </li></ul>
  69. 75. <ul><li>SIMILARITY – </li></ul><ul><li>SIMILARITY -- </li></ul><ul><li>CONCEPTUALLY </li></ul><ul><li>SIMPLE. IT IS A </li></ul><ul><li>DESCRIPTIVE </li></ul><ul><li>QUALITY OF A </li></ul><ul><li>VISUAL, </li></ul><ul><li>CONNECTED WITH </li></ul><ul><li>SIZE, SHAPE, </li></ul><ul><li>COLOUR, </li></ul><ul><li>ORIENTATION, </li></ul><ul><li>TEXTURE. </li></ul><ul><li>HERE OPPOSITES </li></ul><ul><li>REPEL AND SIMILAR </li></ul><ul><li>ATTRACT AND FORM </li></ul><ul><li>GROUPING. </li></ul>
  70. 76. <ul><li>SIMILARITY – </li></ul><ul><li>SIMILAR QUALITIES </li></ul><ul><li>UNIFY WHERE AS </li></ul><ul><li>DISSIMILAR </li></ul><ul><li>QUALITIES </li></ul><ul><li>SEPARATE A </li></ul><ul><li>COMPOSITION. </li></ul><ul><li>SIMILARLY </li></ul><ul><li>SOMETIMES </li></ul><ul><li>BECOMES </li></ul><ul><li>MONOTONOUS AND </li></ul><ul><li>OPPOSITE BECOMES </li></ul><ul><li>CHAOTIC SO </li></ul><ul><li>BALANCE. </li></ul>
  71. 77. <ul><li>COMLEXITY – </li></ul>
  72. 78. OBJECT
  73. 79. PATTERN
  74. 80. TONE
  75. 81. SURFACE TEXTURE
  76. 82. GROUND IS USUALLY LARGER AND SIMPLER THAN FIGURE
  77. 83. CONVEX SHAPES TEND TO BE FIGURE CONCAVE SHAPES TEND TO BE GROUND
  78. 84. DECREASE IN SIZE SHOWS INCREASE IN DISTANCE
  79. 85. INCREASE IN NUMBER DECREASES THE DEPTH IN SPACE
  80. 86. OVERLAPPING SUGGESTS RELATING POSITIONS AND DEPTH
  81. 87. UNBROKEN SHAPES TEND TO BECOME FIGURE AND SEGMENTED SHAPES TEND TO BECOME GROUND
  82. 88. WHAT DOMINATES THE EYE IS CONSIDERED AS FIGURE – MORE PASSIVELY DISPLAYED OBJECTS BECOME GROUND
  83. 89. PLACEMENT OF SHAPE AT THE TOP OR BOTTOM OF THE FRONTAL PLANE CAN DETERMINE WHETHER THE SPACE IS PERCEIVED AS FIGURE OR AS GROUND
  84. 90. FIGURE OR GROUND ARE SAME OR NEARLY SAME THIS BECOMES AMBIGUOUS
  85. 91. VISUAL WITH COMPLEXITY OVERWORKED CHAOS DISORDER
  86. 92. CLOSURE LOGO
  87. 93. 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
  88. 95. 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
  89. 96. SENSE OF ARRANGEMENT GROUPING BY SHAPES
  90. 97. GROUPING BY PROXIMITY
  91. 98. RANDOM
  92. 99. GROUPING BY TONE
  93. 100. GROUPING BY SIZE
  94. 101. PROXIMITY MAY BE OVERPOWERED BY SIMILARITY
  95. 102. 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.
  96. 103. SIMILAR QUALITIES UNIFY WHERE AS DISSIMILAR QUALITIES SEPARATE A COMPOSITION SIMILARLY SOMETIMES MONOTONOUS AND OPPOSITE BECOME CHAOTIC SO BALANCE
  97. 104. 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.
  98. 105. STRONG FIGURE GROUND RELATIONSHIP CREATES VISUAL EXCITEMENT ATTRACTS ATTENTION VISUAL COMFORT (PSYCHOLOGICAL) WE TEND TO SIMPLIFY WHAT WE SEE
  99. 107. FIGURE GROUND RELATIONSHIP- AMBIGIOUS , SOMETIMES EFFECTIVE
  100. 108. POSITIVE NEGATIVE CHARACTER
  101. 109. STRONG FIGURE GROUND --RELATIONSHIP WITH CONTRAST HELP TO COMMUNICATE THE IDENTITY OF CHARACTER PROXIMITY-SIMPLEST CONDITION OF ORGANISATION STRENGTHENS THE FORCES OF ATTRACTION BETWEEN PARTS IT EVOKES AND RESULTS IN STABLE -COHERENT - FIGURES
  102. 113. EMPHASIS
  103. 114. STUDIES IN -- BASIC DESIGN CONCEPTUALISED AND CARRIED OUT BY -- PROF. ARUN OGALE TOPIC -- PERCEPTION COMPILED AND PRODUCED BY – AR. SUVARNA VAZE BASIC DESIGN RESEARCH & DEVELOPMENT CELL <ul><li>TOPIC TEXT </li></ul><ul><li>TOPIC EXERCISE BRIEF </li></ul><ul><li>TOPIC EXCERCISE MECHANISM </li></ul><ul><li>STUDENTS WORK </li></ul>
  104. 115. <ul><li>AWAKENING IN THE MORNING , A SIMPLE USUAL ACT OF OURS. </li></ul><ul><li>WE REVEALED SEQUETIALLY – </li></ul><ul><li>-- THAT WE FIRST OPEN OUR EYES. </li></ul><ul><li>-- WE SEE MANY THINGS ONCE WE OPEN EYES. </li></ul><ul><li>-- BUT SOME ONE SAID “NO” -- BEFORE WE SEE THINGS AROUND , </li></ul><ul><li>THE LIGHT ENTERS OUR EYES AND THEN ONLY WE CAN SEE. </li></ul><ul><li>VERY TRUE , THAT WITHOUT LIGHT WE CANNOT SEE. </li></ul><ul><li>SOMEONE FURTHER HASTILY ADDED THAT THE LIGHT ACTUALLY FALLS ON </li></ul><ul><li>SOME OBJECT AND THEN ENTERS OUR EYES. </li></ul><ul><li>SOMEBODY EXCLAIMED THAT IS THE REFLECTED LIGHT. </li></ul><ul><li>ONE STUDENT NARRATED HIS OWN EXPERIENCE THAT “ AS SOON AS WE </li></ul><ul><li>OPEN OUR EYES IN THE MORNING WE CAN’T SEE CLEARLY AS WE ARE IN </li></ul><ul><li>HALF SLEEP”. </li></ul><ul><li>SOME STUDENT REMEMBERED THAT WE NEED TO FOCUS OUR EYES </li></ul><ul><li>( TO STARE AT ) INITIALLY , TO BE ABLE TO SEE CLEARLY. </li></ul>
  105. 116. <ul><li>SO AFTER AWAKENING IN THE MORNING , </li></ul><ul><li>-- WE OPEN OUR EYES. </li></ul><ul><li>-- REFLECTED LIGHT ENTERS OUR EYES. </li></ul><ul><li>-- WE SIT IN THE BED. A PERSON LIKE ME TRIES TO REACH THE </li></ul><ul><li>NEARBY GLASSES. </li></ul><ul><li>-- WE FOCUS OUR EYES ON A WALL CLOCK. </li></ul><ul><li>SO WE GO THROUGH SERIES OF SIMPLE NATURAL SEQUENTIAL ACTIONS – </li></ul><ul><li>MAINLY THEY ARE SIMPLE MOTIONS. </li></ul><ul><li>SO SOMEONE SUGGESTED THAT WE NEED TO HAVE CLEAR VISION TO BE </li></ul><ul><li>ABLE TO BEGIN THE DAY. </li></ul><ul><li>SO WE STUDIED AND ANALISED YHIS EVENT OF AWAKENING IN THE MORNING </li></ul><ul><li>WE REALISED THAT THERE ARE MANY PARTICIPENTS IN THE EVENT. </li></ul><ul><li>YOU LOOK AT THE WALL CLOCK AND SUDDENLY SOMETHING STRIKES YOU </li></ul><ul><li>THAT YOU ARE LATE. </li></ul><ul><li>YOUR MIND , BRAIN , MEMORY – ALL COME TO YOUR RESCUE . YOUR EYES </li></ul><ul><li>AND YOU SUDDENLY REALISE THAT YOU ARE GETTING LATE FOR THE </li></ul><ul><li>COLLEGE. </li></ul><ul><li>SO WE SEE, WE LOOK ,WE OBSERVE , WE REALISE , SOME THINGS STRIKE – </li></ul><ul><li>AS YOUR MIND, BRAIN , MEMORY NATURALLY PARTICIPATE IN THE ACTIVITY. </li></ul>
  106. 117. <ul><li>SO THE ANALYSIS REVEALED THAT – </li></ul><ul><li>-- SEEING IS JUST REGISTERING SURROUNDING INFORMATION. </li></ul><ul><li>-- IN OBSERVING -- MIND , BRAIN , MEMORY – PLAY IMPORTANT </li></ul><ul><li>ROLE . SO WE THINK , RESPOND , ACT DEPENDING ON INTENSITY </li></ul><ul><li>OF THE SITUATION AND OUR OWN ATTITUDE. </li></ul><ul><li>SO IN OBSERVING , ITS NOT REGISTERING INFORMATION IN THE SURROUNDS </li></ul><ul><li>BUT ALSO FURTHER ACCUMULATING , ASSSIMULATING INFORMATION IN </li></ul><ul><li>SURROUNDS AND SUBSEQUENTIALLY RESPONDING, ACTING ON IT </li></ul><ul><li>DEPENDING UPON THE ATTITUDE. </li></ul><ul><li>THIS ACCUMULATING , ASIMULATING INFORMATION IN THE SURROUNDS -- </li></ul><ul><li>WHAT EFFECT THIS PROCESS HAS ON OUR MIND AND BRAIN. </li></ul><ul><li>SOMEONE SAID WE GET “AWARE” – SO IT’S AWARENESS. </li></ul><ul><li>SO I QUESTIONED INTENSELY / REPEATEDLY WHAT IS THE WORD THAT </li></ul><ul><li>EXPLAINS THE FINAL “NOTION” OF THESE SEQUENTIAL EXPERIENCES. SOME </li></ul><ul><li>SMART ONE SAID IT IS </li></ul><ul><li>“ PERCEPTIONAL EXPERIENCE” </li></ul>
  107. 118. <ul><li>SO WE TRIED TO RESOLVE THAT – </li></ul><ul><li>EYE </li></ul><ul><li>OPENING OF EYE </li></ul><ul><li>LIGHT – REFLECTED LIGHT ENTERS EYES. </li></ul><ul><li>WE SEE , LOOK , FLASH – LOOK </li></ul><ul><li>WE FOCUS OUR EYES , OBSERVE </li></ul><ul><li>MIND , BRAIN , MEMORY – PARTICIPATE . </li></ul><ul><li>SOME THING STRIKES , WE REALISE , GET AWARE. </li></ul><ul><li>WE RESPOND , ACT DEPENDING UPON OUR ATTITUDE. </li></ul><ul><li>SEE – LOOK – OBSERVE – THERE IS SOME DIFFERENCE. </li></ul><ul><li>SO , VISION SUPPORTED BY THINKING OR ORGANISED THOUGH </li></ul><ul><li>= PERCEPTION </li></ul><ul><li>WE ALSO RESOLVED THAT PURPOSE OF LIGHT IS TO MAKE, AQUIRE VISUAL </li></ul><ul><li>INFORMATION IN SURROUNDS. </li></ul><ul><li>WE FURTHER EXTENDED THIS EVENT OF “AWAKENING” IN THE MORNING. </li></ul><ul><li>WHILE IN BED YOU HEAR A SOUND OF TAP WATER DRIPPING , YOU </li></ul><ul><li>SUDDENELY RREALISE THAT TAP WAS NOT TIGHTENED PROPERLY THE </li></ul><ul><li>PREVIOUS NIGHT. YOU AT ONCE JUMPED OUT OF BED, RUSHED TO TIGHTEN </li></ul><ul><li>THE TAP. </li></ul><ul><li>YOU SMELL OMLETTE FROM THE KITCHEN AND HURRIEDLY TAKE BATH, CLOTH YOURSELF AND RUSH TO THE DINING TABLE. </li></ul>
  108. 119. <ul><li>SOME STUDENT EXPLAINED THAT OUR SENSES GIVE US FURTHER INFORMATION IN SURROUNDS AND </li></ul><ul><li>EVEN OUR BODY ORGANS -- FOR ACTION WITH THE “ TACTILE SENSATION ” FEEL THE SURROUNDS AND HELP US PROCURE INFORMATION IN SURROUNDS. </li></ul><ul><li>SO COMPLETE PERCEPTION IS NOT ONLY WITH SEE , LOOK , OBSERVE BUT ALSO POSSIBLE WITH 5 SENSES AND 5 BODY ORGANS FOR AWARENESS AND RESPONSE / ACTION. </li></ul><ul><li>NOW A DAYS PERCEPTION IS ALSO EXPRESSED AS AN IDEA / THOUGHT / POLICY / SRATEGY – AS IT IS REVEALIATION FROM MIND – BRAIN i.e. INTELLIGENCE AND THAT MEANING OF PERCEPTION HAS ATTAINED THE THIRD DIMENTION OF INTERPRETATION. AS SUCH WHILE INTERPRETING THE SITUATION ( LIKE LONDON BOMB BLAST) – THE SCOTLAND YARD SAID THAT IN OUR PERCEPTION THIS KIND OF ACT TO BE INTERPRETED AS SO AND SO KIND OF TERRORISM. </li></ul><ul><li>IN MY PERCEPTION – THIS TOTAL ISSUE IS TO BE VIEWED / INTERPRETED IN SUCH AND SUCH MANNER. </li></ul><ul><li>SO PERCEPTION IS INTELLECTUAL ASSESMENT OR – VIEW. </li></ul><ul><li>SO PERCEPTION IS – EYE + LIGHT + COLOUR + SEE + OBSERVE + 5 SENSES + 5 BODY ORGANS OF ACTION , MIND , BRAIN , INTELLECTUAL. </li></ul><ul><li>ALL ABOVE POSSIBLE ONLY BECAUSE OF SPACE – i.e. ENERGY </li></ul><ul><li>WITHOUT WHICH NOTHING IS POSSIBLE. </li></ul>
  109. 120. STUDIES IN -- BASIC DESIGN CONCEPTUALISED AND CARRIED OUT BY -- PROF. ARUN OGALE TOPIC – TRANSITION , TRANSFORMATION. COMPILED AND PRODUCED BY – AR. SUVARNA VAZE BASIC DESIGN RESEARCH & DEVELOPMENT CELL <ul><li>TOPIC TEXT </li></ul><ul><li>TOPIC EXERCISE BRIEF </li></ul><ul><li>TOPIC EXCERCISE MECHANISM </li></ul><ul><li>STUDENTS WORK </li></ul>
  110. 121. <ul><li>THE ANCIENT WISDOM CONTAINED IN “VEDAS”, UPNISHDA’S AND OTHER SHASTRA’S – DISCUSSES THE CONCEPT OF “MATTER” IN VARIOUS FORMS. THE WORD “ BHUTA’S ” ( 5 ELEMENTS) USED HERE IS TO BE TAKEN AS SYMBOLISING THESE CONCEPTS. THE IDEA INCLUDES THE NATURE OF THE MATTER ON “ MICRO – SCALE “ AS WELL AS ON THE ( MACRO ) </li></ul><ul><li>– “ LARGE SCALE” </li></ul><ul><li>SO THE MATTER IS SEEN / OBSERVED AND STUDIED AS IN FOLLOWING MANNER – </li></ul><ul><li>ORIGINS OF MATTER </li></ul><ul><li>NATURE OF MATTER , IT’S HIERARCHIAL STRUCTURE </li></ul><ul><li>-- LIKE DIRECTIONAL AND OTHER CHARACTERISTICS </li></ul><ul><li>-- WATER – FLUIDITY , FREE ACCESS TO MOST OF THE SITUATION </li></ul><ul><li>-- FIRE -- RISING UP , MELTING CAPACITY </li></ul><ul><li>-- AIR -- LATERAL , SPIRAL – MOVEMENT </li></ul><ul><li>-- SPACE -- EMPTYNESS – VOID </li></ul><ul><li>-- EARTH -- SOLIDITY , GRAVITY , FURTILITY </li></ul><ul><li>TRANSMUTATION OF FORM / MATTER </li></ul><ul><li>TRANSITION , TRANSFORMATION / ONE FORM TO ANOTHER </li></ul><ul><li>LIVING AND INERT MATTER COMPARISON . </li></ul><ul><li>MATTER WITH COMMANALITIES , SIMILARITIES AND DIFFERENCES , GRADUAL </li></ul><ul><li>DEVELOPMENT , PROGRESSION. </li></ul>
  111. 122. <ul><li>EVOLUTION OF LIVING – FORM </li></ul><ul><li>THE ABOVE TOTAL OBSERVATION / STUDIES – IS ACTUALLY A RESEARCH AND DEVELOPMENT PROCESS. THE WISDOM OF THESE SCRIPTURES TRACES THE EVOLUTION OF LIFE AS “ SPACE TO LIFE TO SPACE “. </li></ul><ul><li>IT EXPLAINS – </li></ul><ul><li>SPACE IS NOTED TO EVOLVE IN TO THE AIR . </li></ul><ul><li>AIR IN TO FIRE – WIND BLOWS , SPIRALS , FRICTION FREE </li></ul><ul><li>FIRE IN TO WATER – MELTING CAPACITY </li></ul><ul><li>WATER IN TO EARTH – ACCUMULATION OF FUNGUS , SOIL </li></ul><ul><li>EARTH GENERATES VEGETATION. </li></ul><ul><li>VEGETATION RISES TO FOOD. </li></ul><ul><li>FROM FOOD IS THE ACTUAL LIFE ON THE EARTH. </li></ul><ul><li>BACTERIA – FUNGUS , ‘JEEVA’ ON THE EARTH. </li></ul><ul><li>THAT IS HOW LIFE FINALLY EMERGED – TRANSFORMED INTO “PURUSHA” </li></ul><ul><li>MACRO TO MICRO , WHOLE TO PART </li></ul><ul><li>MAN – PURUSHA – IS THE REPLICA OF UNIVERSE ( 5 ELEMENTS) THE REPLICA </li></ul><ul><li>OF COSMOS </li></ul><ul><li>PURUSH IS CONSTITUTED BY 5 ELEMENTS AND JEEVA – EMERGES FROM </li></ul><ul><li>ANNA – RASA </li></ul><ul><li>SUBTLE – SUKSHMA , GUDH IS THE ANNAMAYA – KOSA WHICH IS THE FIELD </li></ul><ul><li>OF FOOD. </li></ul>
  112. 123. <ul><li>AND SUBTLE IS PRANMAYA – KOSA FIELD OF MIND. </li></ul><ul><li>EVEN SUBTLE IS MANMAYA – KOSA i.e. FIELD OF 5 SENSES AND 5 ORGANS OF </li></ul><ul><li>BODY FOR ACTION , UNDERSTANDING , REALISATION , AWARENESS , </li></ul><ul><li>RATIONAL , INTELLECT ( SADSTSAT VIVEK BUDDHI) </li></ul><ul><li>AND FINALLY SMALLEST OF ALL IS THE “ ANANDMAYA KOSA” – FIELD OF BLISS, </li></ul><ul><li>ETERNAL BLISS. </li></ul><ul><li>SEE THE VERY LOGICAL TRANSITION AND TRANSFORMATION – (LOGICALLY </li></ul><ul><li>CONCEPTUALISED) </li></ul><ul><li>SPACE TO AIR TO FIRE TO WATER TO EARTH TO VEGETATION TO FOOD TO </li></ul><ul><li>LIFE ( CHETANA – SPIRIT) TO CONCEPT OF PURUSHA (MACRO – MICRO) </li></ul><ul><li>WHICH EMERGES FROM ANNARASA AND CONSTITUTED BY 5 ELEMENTS ON </li></ul><ul><li>WHICH SUSTAINS PRANMAYA THEN MANAMAYA – KOSA , VUNNAMAYA – KOSA </li></ul><ul><li>TO ANADMAYA – KOSA , PURE – ‘JOY’ – ATMANANDA , PARAMANANDA. </li></ul><ul><li>AND FINALLY THE ‘CHATANA’ – SPIRIT, COSMIC ENERGY – WITHIN US WHICH </li></ul><ul><li>GOES BACK TO IT’S ORIGINAL SOURCE. </li></ul><ul><li>SUCH IS THE EMERGENCE , PROGRESSION AND FINALLY GOING BACK TO THE </li></ul><ul><li>ORIGINAL SOURCE – A JOURNEY UNFOLDS THROUGH THE TRANSITIONS AND </li></ul><ul><li>TRANSFORMATION . </li></ul><ul><li>THESE CONCEPTS ARE NOW FACTS OF SCIENCE AND REALITY. </li></ul><ul><li>TRANSITIONS AND TRANSFORMATIONS – PROCESS OF PROGRESSION. </li></ul><ul><li>TRANSITIONS – STAGES IN GROWTH. </li></ul>
  113. 124. <ul><li>TRANSFORMATION – A FINAL FORM, COMPLETE DIMENSION ( PARISTHITI) </li></ul><ul><li>MYTHS , METAPHYSICAL CONCEPTS , RAPPORT WITH (DIRECT) </li></ul><ul><li>COSMIC ENERGY – VIBRATIONS -- FEEL – PERCEPTION – UNDERSTANDING , </li></ul><ul><li>REALISATION , AWARENESS , LOGIC, REASON , PHYLOSOPHY , SCIENCE , </li></ul><ul><li>REALITY. </li></ul><ul><li>THIS IS HOW TRANSITIONS AND TRANSFORMATIONS – SEQUENTIALLY UNFOLD </li></ul><ul><li>MYTHICAL </li></ul><ul><li>METAPHYSICAL </li></ul><ul><li>CONCEPTUAL – MYTH TO METAPHYSICAL, SPACE, LIGHT, DEAPTH, SPACE. </li></ul><ul><li>VISUAL – DOT, LINE, PLANE FORM THE SPACE </li></ul><ul><li>PHYSICAL – SEED TO TREE TO FLOWER TO FRUIT </li></ul><ul><li>PSYCOLOGICAL – INTENT TO OLDAGE (PHY.+ PSYC.) / SANSKARA’S </li></ul><ul><li>SCIENTIFIC – SURFACE , WATER , AIR – TRANSPORT </li></ul><ul><li>NATURAL – SEASONS </li></ul><ul><li>POLITICAL – RELIGION, ?????? , COMMUNISM , DEMOCROCY , SAMAJWAD , </li></ul><ul><li>FRENCH REVOLUTION , FRREDOM FIGHT INDIA </li></ul><ul><li>RELIGIOUS </li></ul><ul><li>SOCIAL </li></ul><ul><li>CULTURAL </li></ul>
  114. 125. <ul><li>ALL OF US ARE AWARE THAT THE WHOLE OF UNIVERSE EXITS BECAUSE OF </li></ul><ul><li>THE ‘COSMIC ENERGY ’. </li></ul><ul><li>THIS COSMIC ENERGY NOT ONLY CREATED THIS UNIVERSE WITH 5 ELEMENTS ALSO, LIFE IN THE FORM OF NATURE , BIRDS , ANIMALS AND THE HUMAN BEING, BUT LAST SO MANY THOUSANDS AND LACS OF YEARS , IT IS MAINTAINING THE SPIRIT OF IT’S OWN CREATION , WHICH IS AMAZING. </li></ul><ul><li>THIS “ ENERGY ” IS THE MAIN SOURCE OR DRIVE BEHIND THIS CREATION WHICH ALSO EXISTS WITHIN YOU AND ME. </li></ul><ul><li>A VERY UNIQUE ASPECT OF THIS CREATION IS THAT THE CREATOR ( MEANS THE ACTUAL COSMIC ENERGY ) SITS IN IT’S OWN CREATION ENLIVENING THE LIFE. THIS DOES NOT HAPPEN IN ANY OTHER CREATION. </li></ul><ul><li>THE FIRST CONCIOUS AWARENESS OF MAN -- THE FACT THAT HIS LIFE IS NOT ONLY DEPENDENT ON 5 ELEMENTS – WATER , EARTH , AIR , FIRE AND SPACE – BUT HE WAS ALSO AWARE THAT THESE 5 CONSTITUTE HIS BODY AND CONTROL BODY FUNCTIONS. </li></ul><ul><li>UNDERSTANDABLY , IN ALL CIVILIZATIONS , AT THE MOST SOFISTICATED LEVEL AS ALSO AT THE SIMPLEST LEVEL THE RECOGNITION THAT THE PRIMAL ELEMENTS WERE PRIMARY –CRUCIAL AND INDISPENSIBLE. THIS WAS UNIVERSALY ACCEPTED THROUGHOUT THE TIME. </li></ul><ul><li>AS SUCH MYTHS OF ORIGINS OF UNIVERSE , CREATION , COSMOLOGY , COSMOGONY – HAVE BEEN DEVELOPED ON THE CONCEPT OF THESE ELEMENTS – IN EVERY CULTURE SO FAR EXISTED ON THIS PLANET. </li></ul><ul><li>ARCHITECTURE ( VASTU-KALA) ALSO EMERGED OUT OF SUCH MYTHS. </li></ul>
  115. 126. <ul><li>IT WAS ALSO REALISED BY THE MAN THAT THE LIFE – DECAY , DETERIORATION , DISTRUCTION , DEATH BUT LIFE AGAIN – IS THE BASIC CONCEPT BEHIND THE CREATION. LIFE CONTINUOUSLY , CONSTANTLY CONTINUES – IN LIFE , DEATH , AND RENEWAL. </li></ul><ul><li>THE TOTAL JOURNEY OF ‘JEEVA’ OR ‘ PRANA’ -- EMERGES FROM SPACE , MAINTAINED AND CONTINUED IN SPACE AND FINALLY MERGES INTO THE ORIGINAL SOURCE i.e. SPACE. </li></ul><ul><li>SPACE IS ENERGY. WITHOUT SPACE IT WOULD BE JUST DEAD MASS – MONOLITH </li></ul><ul><li>SO SPACE IS CRUCIAL , VITAL AND ORIGINAL CREATIVE FORCE. </li></ul><ul><li>EVOLUTION THEORIES ALSO MODERN PHYSICS – SUGGEST THAT THE ESSENCE OF ENTIRE UNIVERSE IS COSMIC ENERGY AND THAT THE UNIVERSE IS CONTROLLED BY THE PROCESS OF </li></ul><ul><li>CREATION </li></ul><ul><li>CONSERVATION </li></ul><ul><li>DESTRUCTION </li></ul><ul><li>CONCEPT OF “ TRINITY ” IN THE INDIAN PHYLOSOPHY </li></ul><ul><li>i.e </li></ul><ul><li>BRAMHA – CREATION </li></ul><ul><li>-- OUR FACULTY OF CREATIVITY , REPRODUCTIVITY </li></ul><ul><li>-- LIKE BRAMHA CREATING UNIVERSE. </li></ul>
  116. 127. <ul><li>VISHNU – SUSTAINABILITY CONSERVATION </li></ul><ul><li>-- FLOW OF VITAL ENERGY SUSTAINS US </li></ul><ul><li>-- LIKE VISHNU SUSTAINS UNIVERSE </li></ul><ul><li>MAHESH – ANNIHILATION , DESTRUCTION </li></ul><ul><li>-- OUR IMMUNE SYSTEM WITHIN US FIGHTS FOREIGN BODY </li></ul><ul><li>-- LIKE SHIVA DESTROYES EVIL </li></ul><ul><li>MAN’S UNDERSTANDING OF ELEMENTS WAS ALSO CLEAR AND THIS CLARITY WAS THE RESULT OF CONTINUOUS EXPLORATION – OF THE UNKNOWN </li></ul><ul><li>(NON-MANIFESTED) . HE KNEW – </li></ul><ul><li>AIR -- IS IMPORTANT FOR BREATH AND IT’S LATERAL , SPIRAL MOVEMENT. </li></ul><ul><li>WATER – IS JUST NOT ONLY LIFE BUT ALSO PURITY AND ACCESEBILTY , </li></ul><ul><li>-- FLUIDITY </li></ul><ul><li>FIRE – BURNING AND HEAT , BUT ALSO RISING UP , MELTING CAPACITY. </li></ul><ul><li>SPACE – IS EMPTYNESS – VOID , BUT APART FROM THIS , IT IS EVERYTHING , </li></ul><ul><li>WITHOUT SPACE NOTHING CAN EXISTS. </li></ul><ul><li>EARTH – NOT ONLY SOLIDITY BUT GRAVITY AND MOST IMPORTANTLY </li></ul><ul><li>‘ FURTILITY”, ALSO PLACE TO LIVE AND DWELL. </li></ul><ul><li>NATURE – NOT QUALITIES , PROPERTIES , NATURE CHARACTERS , SHAPES , </li></ul><ul><li>FORMS , DIRECTIONAL BEHAVIOUR , PHYSICAL , CHEMICAL , </li></ul><ul><li>SCIENTIFIC FORMULATIONS – ALL SUCH SENSITIVITIES EMERGED </li></ul><ul><li>OUT OF ANXIETY , PERCEPTION AND CAPACITY TO THINK AND </li></ul><ul><li>CONCEPTUALISE. </li></ul>
  117. 128. <ul><li>OUT OF IMMENSE LOT OF KNOWLEDGE AND INFORMATION MAN COULD WORK OUT THE ‘ESSENCE’ AND TRANSFORMED THEM INTO ‘CONCEPTS’ . LIKE FOR ALL KINDS OF QUALITIES , PROPERTIES , CHARACTERS – OF “MATTER” . HE COULD WORK OUT THE BASICS LIKE – </li></ul><ul><li>RAJA – SIGNIFIES ENERGY , MOTION AND STABILITY. </li></ul><ul><li>TAMA – STANDS FOR WEIGHT , DARKNESS , INERTIA AND </li></ul><ul><li>SATVA – IS LIGHTNESS AND PURITY. </li></ul><ul><li>THIS IS HOW THE SYMBOLIC VALUES EMERGED. </li></ul><ul><li>THIS UNDERSTANDING AND REALISATION ABOUT KNOWN AND UNKNOWN </li></ul><ul><li>( MANIFEST AND NON MANIFEST ) AND SUBTLE SENSITIVITY ABOUT THE MATTER AROUND , THEIR RELATIONSHIP AMONGST AND WITH THE NATURE – ALL SUCH AWARENESS COULD BEUNFOLDED AND REVEALED BECAUSE OF THE MIND AND BRAIN’S CAPACITY TO THINK AND TO CONCEPTUALISE , ALSO 5 SENSES AND 5 BODY ORGANS TO ACT. THAT IS WHY MAN REFUSED TO WALK ON 4 LEGS INSTEAD HE USED TWO OF HIS LEGS AS HANDS TO ‘CREATE’. </li></ul><ul><li>WITH THESE SPECIALLY GIFTED ‘ FACULTIES ‘ IT IS IMPLIED THAT THE MAN IS DIFFERENT THAN THE OTHER ANIMALS . IT IS ALSO IMPLIED THAT MAN HAS TO BE A CREATIVE ANIMAL USING THESE FACULTIES , WHICH HAVE THE INHERANT CAPACITY TO “CREATE” , THE CAPACITY DIRECTLY GIFTED BY THE NATURE , OF WHICH HE IS THE PART. </li></ul><ul><li>AS SUCH MAN NEEDS TO ( HAS TO ) CREATE EVERY DAY TO BE ABLE TO SURVIVE WHERE AS OTHER ANIMALS NEED NOT. </li></ul>
  118. 129. <ul><li>IN ALL ABOVE PROCESS THE “PERCEPTION” PLAYS THE MOST IMPORTANT ROLE . A SENSE OF COMPLETE PERCEPTION CAN NOT BE OBTAINED WITHOUT EYE , MIND ,BRAIN , 5 SENSES AND 5 BODY ORGANS. EYE MAY BE A REAL SOURCE OF PERCEPTION , BUT MIND , BRAIN , SENSES , BODY ORGANS FOR ACTION – A TOTAL PROCESS GIVES THE PERCEPTION. A MEANINGFUL TOUCH i.e. “COMPLETE SENSE OF PERCEPTION” – FROM WHERE EMERGES </li></ul><ul><li>PRADNYA – WISDOM , INTELLIGENCE </li></ul><ul><li>PRERANA – INSPIRATION </li></ul><ul><li>PRATIBHA – CREATIVITY </li></ul><ul><li>ABOVE THREE NOTIONS AND THEIR REFINEMENT LEADS TO HAVE A DIRECT CONTACT WITH THE COSMIC ENERGY WHERE REVELEATION OCCURES RESULTING INTO RATIONAL (SAD VIVEK BUDDHI), PURE CONCIOUSNESS , ENLIGHTENMENT AND FINALLY MOST IMPORTANT ATTRIBUTE OF “ INTUTION” GIVING WAY TO (RELEASING) CREATIVE ENERGY (WORK) WHEREBY WE EXPERIENCE ‘ PURE JOY ‘. </li></ul><ul><li>JOY – IS SUDDEN INSTANT EXPERIENCE. </li></ul><ul><li>IT IS NATURAL HENCE PURE ( NIRMAL ANAND) </li></ul><ul><li>OUR INNERSELF IS PLEASED , SATISFIED. </li></ul><ul><li>JOY IS ACCEPTABLE TO HEART. </li></ul><ul><li>PLEASURE – IS TO BE SEEKED , OBTAINED (SUKH , SUKHASIN) </li></ul><ul><li>MAY BE THROUGH MEMORY, SENSATIONS, SENSORY – </li></ul><ul><li>BODY ORGANS – ACTS. </li></ul><ul><li>ONE DERIVES PLEASURE OUT OF SITUATION ACCEPTABLE TO </li></ul><ul><li>BODY – MIND. </li></ul>
  119. 130. <ul><li>HAPPINESS – IS CONTENTMENT – SITUATION MAKES ONE HAPPY. </li></ul><ul><li>IT IS ALSO STATE OF MIND ( SHANTI / SAMADHAN) </li></ul><ul><li>WISH / IMPLIED SITUATION </li></ul><ul><li>ACCEPTABLE TO MIND. </li></ul><ul><li>ALL ABOVE ARE EXPERIENCES – INSTANT TO BE SEEKED , TO BE FELT / WISHED / TO BE WITH IT. </li></ul>
  120. 131. <ul><li>SO WE HAVE ALL THIS UNDERSTANDING , AWARENESS , CAPACITIES , CAPABILITIES – AS INHERENT ENERGIES , THE SUM OF IT IS CALLED </li></ul><ul><li>“ CREATIVE ENERGY”. THE “CREATIVITY” IS THE ESSENCE OF THE TOTAL CREATION OF UNIVERSE. </li></ul><ul><li>I STONGLY FEEL THAT BEFORE WE TAKE ANY STUDIES , WE MUST BE AWARE ABOUT THIS FACT THAT WE HAVE EVERYTHING WITHIN US. IN THE TRUE SENSE OF TERM WE ALL OURSELVES THE “ EXPRESSIONS “ OF THE SAME COSMIC ENERGY WORKING WITHIN US. </li></ul><ul><li>SO ALL KNOWLEDGE IS “ WITHIN “ REQUIRING TO BE DRAWN FROM WITHIN. </li></ul><ul><li>INSTEAD WE EXTRACT FROM OUTSIDE AND TRY TO ASSIMILATE WITHIN. </li></ul><ul><li>REAL EDUCATION REQUIRES US TO – NEED TO ENLIVEN ( ENERGISE) OUR COSMIC AWARENESS. WE ALL ARE LACKING THIS ASPECT AND HENCE OUR EDUCATION i.e. TEACHING AND LEARNING HAS BECOME SUPERFICIAL. </li></ul><ul><li>IN INDIA WE NEVER LOOK AT EDUCATION AS ENJOYABLE EXPERIENCE. </li></ul><ul><li>ACTUALLY TEACHING AGAIN AND AGAIN – IS LIKE LEARNING AGAIN AND AGAIN. IF THIS IS UNDERSTOOD BY TEACHERS , THEN THE WHOLE EXPERIENCE OF TEACHING BECOMES ENJOYABLE AND MORE MEANINGFUL. </li></ul>
  121. 132. STUDIES IN -- BASIC DESIGN CONCEPTUALISED AND CARRIED OUT BY -- PROF. ARUN OGALE TOPIC – EXPRESSIONS COMPILED AND PRODUCED BY – AR. SUVARNA VAZE BASIC DESIGN RESEARCH & DEVELOPMENT CELL <ul><li>TOPIC TEXT </li></ul><ul><li>TOPIC EXERCISE BRIEF </li></ul><ul><li>TOPIC EXCERCISE MECHANISM </li></ul><ul><li>STUDENTS WORK </li></ul>
  122. 133. <ul><li>EXPRESSIONS </li></ul><ul><li>LIFE BECOMES LIVELY -- BECAUSE OF EXPRESSIONS </li></ul><ul><li>WE HAVE BODY , MIND , BRAIN , SENSES , EMOTION , FEELINGS. </li></ul><ul><li>WE NEED TO EXPRESS , IF WE DO NOT , OUR HUMAN “SPIRIT” WILL FADE. </li></ul><ul><li>WE MAY BECOME PHYSICALLY , PSHYCOLOGICALLY IMBALANCE , OUR HARMONS WILL ALSO FADE. </li></ul><ul><li>OUR BODY SYSTEM ALSO DEMANDS SUPPORT THROUGH EXPRESSIONS , WE NEED TO “OUTLET “ OUR FEELINGS, EMOTIONS , SENTIMENTS. </li></ul><ul><li>EVEN AMOEBA – RESPONSES , EXPRESSES TO NEARBY MOVEMENT. </li></ul><ul><li>EINSTINE SAID THAT WHEN HE WAS NOT OBSEVING SMALLEST MOLECULE </li></ul><ul><li>(ATOM) , THEIR BEHAVIOUR WAS DIFFERENT THAN THAT OF THE BEHAVIOUR WHEN HE WAS ACTUALLY OBSERVING THEM. </li></ul><ul><li>OUR BODY ELEMENTS REMAIN FRESH , ACTIVE BASED ON THE CHEMISTRY OF THE ‘ RASA ‘. EVERY MINUTE DUE TO THE ‘ACTIVITY’ OF THE BODY </li></ul><ul><li>( THROUGH THE BODY ORGANS OF ACTION , ALSO DUE TO SENSES , DUE TO MIND / BRAIN WORKING ) DIFFERENT “ RASA’S “ ARE PRODUCED. UNTIL WE ‘ RELISH ‘ A PERTICULAR ACT , RASA’S DO NOT GET PRODUCED. THIS ALSO MEANS THE RESPONSE AND THE EXPRESSIONS. SO WE EXPERIENCE JOY , SORROW , HUMILIATION AND SO ON WHICH WE EXPRESS IN VARIOUS MANNER. </li></ul><ul><li>THROUGH OUR FACE , EYES , GESTURES , BODY MOVEMENTS , SOUND , WE WRITE , DRAW. </li></ul>
  123. 134. <ul><li>DUE TO THESE EXPRESSIONS AND IDEA OF PROCESSING THEM , PRESENTING THEM TO OTHERS, THEY WERE EXPRESSED WITH HELP OF THE MEDIUM. </li></ul><ul><li>ALL FINE ARTS AND PERFORMING ARTS ARE THE RESULTS OF SUCH EXPRESSIONS. </li></ul><ul><li>MAN IS THINKING ANIMAL AND HENCE HE JUST CAN THINK AND THINK , BUT HE NEEDS TO EXPRESS. HE MUST RELEASE HIS CREATIVE ENERGY TO THAT. HE CAN ACTIVATE HIS MIND AND BRAIN WITH FURTHER REFINEMENT OF THOUGHT. </li></ul><ul><li>THESE EXPRESSIONS MADE MAN PROGRESS. THE SEQUENTIAL UNFOLDING OF ANY IDEA WITH LOGIC , RESON , ABSTRACTION , REFINEMENT , ALL SUCH IMPORTANT NOTIONS HELPED MAN TO CONCLUDE MEANINGFULLY. </li></ul><ul><li>SO EXPRESSIONS IS TONIC TO BODY , MIND , BRAIN. </li></ul><ul><li>EXPRESSIONS -- </li></ul><ul><li>EXTRACTIONS (TAKING OUT) EXPRESS </li></ul><ul><li>OBTAINING AN ABSTRACT APPEARANCE </li></ul><ul><li>DISTILLATION TONE </li></ul><ul><li>DECORATION MUSICAL </li></ul><ul><li>RENDERING MEANING </li></ul><ul><li>INFUSION DICTION </li></ul><ul><li>MANIFESTATION – SHOWING (PRAGAT) ELOQUENCE </li></ul>
  124. 135. <ul><li>FOR ALL OUR PHYSICAL , PSYCOLOGICAL ACTIONS , WE USE OUR PAST EXPERIENCE , PRESENT SITUATION , LOGIC , REASON , COMMON SENSE (NOT VERY COMMON) , PERCEPTION AND FINALLY INTUTION. </li></ul><ul><li>SO WE NEED TO DEVELOP THESE SENSITIVITIES i.e. </li></ul><ul><li>SENSE OF ARRANGEMENT </li></ul><ul><li>ORGANISATION AND </li></ul><ul><li>ORDER FOR VISUAL STUDIES. </li></ul><ul><li>WE HAVE SEEN -- </li></ul><ul><li>HOW DOT PROGRESSES INTO LINE </li></ul><ul><li>WITH MOTIVARED LINE , HOW TEXTURES, PATTERNS EMERGE. </li></ul><ul><li>WITHLINE MANIPULATION HOW PLANE – SHAPES. </li></ul><ul><li>AND HOW PLANES TRANSFORM INTO FORM WHERE SPACE GETS CONCEIVED. </li></ul><ul><li>WE HAVE ALSO SEEN – </li></ul><ul><li>HOW EXTREME NATURE AND CHARACTERS OF 5 ELEMENTS AND OTHER </li></ul><ul><li>ELEMENTS IN CREATION ACT FORMULATED AS MARVELOUS </li></ul><ul><li>“ WHOLESOME CREATION”. </li></ul><ul><li>SIMILARLY , WE NOW SEE, HOW VISUAL ELEMENTS WITH DIFFERENT OR SOMETIMES WITH EXTREME VOCABULARY AND EXPRESSIONS BECOME MORE AND MORE MEANINGFUL , WHEN THEY ARE ARRANGED , ORGANISED AND PUT IN AN ORDER. </li></ul>
  125. 136. LET US SEE SOME OF THE WORDS AND TRY TO UNDERSTAND THEIR MEANINGS AND EXPRESSIONS. RADIATION ROTATION MOVEMENT MOTION GLIDE / SLIDE SIMILARITY SIMPLICITY COMPLEXITY CONTINUITY REPETETION RHYTHM GRADATION VARIETY RANDOM RIGIDITY REGULAR FORMAT PROXIMITY CLOSENESS APARTNESS UNITY HARMONY PROPORTION BALANCE SYMMETRICAL ASYMMETRICAL
  126. 137. <ul><li>DIAGONAL ALLOWS CLASSICAL BALANCE WITHOUT THE ARTIFICIAL INTEREST IN CONVENTIONAL AXIAL PLANNING IN WHICH , UNLESS ELEMENTS WERE RETAINED AND HELD IN POSITION FOR THE SAKE OF SYMMETRY. </li></ul><ul><li>BY ROTATING THE SQUARE , ONE CONVERTS THEIR OTHERWISE DEAD CORNERS INTO CONNECTORS MAKING EACH SQUARE ITS OWN CONNECTION WITH AN ORTHODOX LOGIC THAT WOULD BE IMPOSSIBLE IN ORTHOGONAL ARRANGEMENT. </li></ul><ul><li>WE WILL SEE SOME VISUALS TO AWAKEN OUR SENSITIVITY AND WHILE WORKING OUT AN EXERCISE – WHILE TAKING – DIRECT EXPERIENCE , WE REFINE OUR SENSITIVITY TO ENHANCE THE QUALITY OF VISUALS TO MAKE THEM MORE AND MORE INTERESTING. </li></ul><ul><li>WE USE EXTREME VOCABULARY – MEANING – AND EXPRESSIONS , MIX THEM , SEPARATE THEM , OVERLAP THEM AND STILL MAKE A WHOLESOME -- COMPLETE VISUAL WHICH PLEASES US. </li></ul>
  127. 138. MIND <ul><li>MEMORY </li></ul><ul><li>MEMORY IS ENERGY. </li></ul><ul><li>LET US USE IT MAKING LIFE MORE RELAVENT AND MEANINGFUL. </li></ul><ul><li>MEMORY HELPS US MEANINGFUL SURVIVAL. </li></ul><ul><li>WITHOUT MEMORY , LIFE IS IRRELAVENT. </li></ul><ul><li>MEMORY IS ALSO A CAPACITY OF MIND WHICH GOES BACK. MEMORY ALSO CAN BE “ CARRY FORWARD “ , SO IT HAS A STRENGTH OF TIME. </li></ul><ul><li>GOOD MEMORIES ENRICHING LIFE TO CARRY FORWARD AND IF BAD MEMORIES GET CARRY FORWARD , THE LIFE BECOMES MISERABLE. </li></ul>
  128. 139. STUDIES IN -- BASIC DESIGN CONCEPTUALISED AND CARRIED OUT BY -- PROF. ARUN OGALE TOPIC – COLOUR COMPILED AND PRODUCED BY – AR. SUVARNA VAZE BASIC DESIGN RESEARCH & DEVELOPMENT CELL <ul><li>TOPIC TEXT </li></ul><ul><li>TOPIC EXERCISE BRIEF </li></ul><ul><li>TOPIC EXCERCISE MECHANISM </li></ul><ul><li>STUDENTS WORK </li></ul>
  129. 140. <ul><li>COLOUR LED INTO VIRTUALLY ALL RELAMS OF LIFE. </li></ul><ul><li>THIS IS HARDELY A SINGLE ASPECT OF HUMAN PROGRESS THAT HAD NOT </li></ul><ul><li>BEEN TINTED BY COLOUR. </li></ul><ul><li>ALL GREAT MEN LIKE PYTHAGORUS , HIPOCRATES WROTE ABOUT COLOUR. </li></ul><ul><li>PLATO , ARISTOTLE AND PLINY ATTEMPTED TO EXPLAIN ITS MYSTERIES. </li></ul><ul><li>DA VINCI RELATED COLOURS TO THE ELEMENTS . </li></ul><ul><li>YELLOW – EARTH </li></ul><ul><li>GREEN – WATER </li></ul><ul><li>BLUE – AIR </li></ul><ul><li>RED -- FIRE </li></ul><ul><li>NEWTON FOUND THE SCIENCE OF COLOUR i.e. </li></ul><ul><li>PERCEPTION OF SEVEN COLOURS -- A SPECTRUM </li></ul><ul><li>7 WAS THE MAGICAL NUMBER , THE HOLY NUMBER , </li></ul><ul><li>7 HEAVENS </li></ul><ul><li>7 DIATONIC MUSICAL SCALE / MUSICAL EXPRESSION ALSO PERPORATED </li></ul><ul><li>7 ORIGINAL PLANETS. </li></ul><ul><li>7 COLOURS -- SCIENCE RAINBOW </li></ul>
  130. 141. <ul><li>COLOURS HAVE ALSO ABILITY TO REVEAL THE ELEMENTS OF HUMAN </li></ul><ul><li>PERSONALITY. </li></ul><ul><li>COLOUR IS NOW SHOWING IT’S POTENTIAL FOR ENRICHING HUMAN LIFE. </li></ul><ul><li>PSYCHEDELIC ART – APART FROM THE, IN FABRIC , IN PLASTICS , IN METAL </li></ul><ul><li>FINISHES FROM CARS TO COOKERS. </li></ul><ul><li>IT HAS ALSO “POWER” FOR HEALING , UNDERSTANDING IDENTIFICATION AND </li></ul><ul><li>COMMUNICATING -- GRAPHICS. </li></ul><ul><li>COLOUR IMPINGES ON OUR EVERY WALKING MOMENT AND PENETRATES </li></ul><ul><li>EVEN IN OUR DREAMS. </li></ul><ul><li>THERE IS COLOUR IN DAYLIGHT , IN THE SKY , AND IN THE LANDSCAPE , IN </li></ul><ul><li>OUR SKIN , HAIR AND EYES. </li></ul><ul><li>EVERY OBJECT THAT WE MANUFACTURE TO USE OR WEAR IS COLOURED OR </li></ul><ul><li>HAS COLOUR. </li></ul><ul><li>IT ATTRACTS US EMOTIONALLY , MAKING THINGS WARM OR COLD , </li></ul><ul><li>PROVOCATIVE OR SYMPATHATIC , EXCITING OR TRANQUIL. </li></ul><ul><li>COLOUR IS LIGHT AS PER NEWTON’S THEORY. </li></ul><ul><li>COLOUR IS PIGMENT -- BUT EVEN THE COLOUR OF THE PIGMENT IS THE </li></ul><ul><li>COLOUR OF THE LIGHT IT REFLECTS. </li></ul>
  131. 142. <ul><li>COLOUR IS SENSATION , THE SENSE OF SIGHT FUNCTIONS ONLY WHEN LIGHT REACHES THE EYE. </li></ul><ul><li>THE SIMPLEST , MOST PRIMITIVE ORGANISMS REACT TO LIGHT – MOVING TOWARDS IT OR AWAY FROM IT. </li></ul><ul><li>COLOUR IS INFORMATION – </li></ul><ul><li>WE STOP AT RED , MOVE WHEN IT IS GREEN. </li></ul><ul><li>WE USE COLOUR TO IDENTIFY THE OBJECTS – FRUIT IS RIPE , DECAYING </li></ul><ul><li>VEGETABLES , ALSO BIRDS , ANIMALS </li></ul><ul><li>INCLUDING FOOTBALL , CRICKET TEAMS </li></ul><ul><li>COLOUR HELPS TO DIAGNOSE -- ILLNESS , ALSO HELPS HEALING , CURING </li></ul><ul><li>RED = RHUMATIC PAIN , ARTHRITIS </li></ul><ul><li>ALSO HELPS TO RECOGNISE – ANGER , FEAR , EMBARRASMENT. </li></ul><ul><li>THE COLOUR IS PRECISELY DESCRIBED AS AN IMAGE OF THE “ SUN “. </li></ul><ul><li>WITH INCREDIBLE SENSORIAL ONSLAUGHT THAT BOMBARDS US EVERY DAY </li></ul><ul><li>AND THE ARTIFICIAL INTENSITIES THAT WE ENCOUNTER IN THE VIRTUAL </li></ul><ul><li>WORLD , THE NATURE OF COLOUR SHOULD CHANGE. NO LONGER JUST A THIN </li></ul><ul><li>LAYER OF CHANGE , BUT SOMETHING THAT GENUINELY ALTERS PERCEPTION. </li></ul>
  132. 143. <ul><li>CORBUSIER IN HIS BOOKS DID NOT WASTE A SINGLE LINE ON THE SUBJECT </li></ul><ul><li>OF COLOUR. TO HIM COLOUR WAS NO LONGER A DECORATIVE ELEMENT. HE </li></ul><ul><li>PAINTED MANY OF HIS BUILDING WITH STRIKING COLOUR AND ALSO HAD THE </li></ul><ul><li>TREMENDOUS SENSITIVITY OF USING WHITE IN RON CHAMP. </li></ul><ul><li>MILES VAN DER ROHE FOLLOWS THE SAME INTENTION IN HIS USE OF </li></ul><ul><li>COLOUR IN HIS USE OF COLOUR , IN HIS VILLAS AND PAVELLIONS – GREEN </li></ul><ul><li>VELVET. </li></ul><ul><li>THESE AND FEW OTHER PIONEERS IN MODERN ARCHITECTURE USED </li></ul><ul><li>COLOURS NOT AS A RANDOM AVERAGE OF WALL SURFACE WITH PIGMENT , </li></ul><ul><li>BUT COLOURS DERIVED FROM THE MATERIALS THAT WERE USED IN </li></ul><ul><li>BUILDINGS TO FULFILL ITS ORIGINAL PURPOSE OF DEFINING VOLUMES IN </li></ul><ul><li>SPACE. </li></ul><ul><li>THE USE OF COLOUR AS A MATERIAL WITH QUANTITIES OF ITS OWN , RATHER </li></ul><ul><li>THAN SIMPLY AS A PROTECTIVE COATING FOR THE SURFACE. i.e. THE </li></ul><ul><li>UNDERSTANDING OF IT AS ARCHITECTURAL ELEMENT THAT USED TO GIVE </li></ul><ul><li>SHAPE TO THE INTERFACE BETWEEN SURFACE AND SPACE. </li></ul><ul><li>. </li></ul>
  133. 144. <ul><li>WHITE IS THE SHORT LIVED EMBLEM OF PERPETUAL MOVEMENT. </li></ul><ul><li>WHITE IS ALWAYS PRESENT BUT NEVER THE SAME , BRIGHT AND ROLLING IN THE DAY. </li></ul><ul><li>SILVER AND EFFERVESCENT UNDER THE FULL MOON OF TRIPURI POURNIMA. </li></ul><ul><li>BETWEEN THE SEA OF UNCONCIOUSNESS AND EARTH’S VAST MATERIALITY – LIES THIS EVER CHANGING LINE OF WHITE. </li></ul><ul><li>WHITE IS THE LIGHT ,THE MEDIUM OF UNDERSTANDING AND TRANSFORMATIVE POWER. </li></ul>
  134. 145. <ul><li>COLOUR IS AN IMORTANT FACTOR WHICH ADDS BEAUTY TO THE WORLD AROUND US. EVERYONE IS DELIGHTED BY NATURES COLOURFUL SPLENDOUR. </li></ul><ul><li>THE VISUAL SYSTEM , AVAILABLE LIGHT AND PERCEIVED OBJECTS INTERACT TO PRODUCE COLOUR – VISION. </li></ul><ul><li>THE COLOUR PLAYS VERY IMPORTANT ROLE AND HAS GREAT INFLUENCE IN CREATING ARCHITECTURAL SPACE AND FORM. </li></ul><ul><li>COLOURS ARE SEEN DUE TO LIGHT. </li></ul><ul><li>HENCE , THE LIGHT IS THE MAIN SOURCE OF COLOUR. COLOURFUL FABRIC DOES NOT POSSES THE COLOUR WE SEE. IT IS MADE UP WITH SOME PARTICLES OF A PERTICULAR TYPE , WHICH ABSORB CERTAIN COLUOR RAYS FROM LIGHT, AND REFLECT THE REMAINING RAYS. THESE REFLECTED RAYS GIVE A PERTICULAR COLOUR TO THAT PERTICULAR OBJECT. </li></ul><ul><li>THE IDEA THAT THE “ SURROUNDING OBJECTS DO NOT POSSESS THE COLOUR WE SEE “ IS NOT EASILY ACCEPTABLE , BECAUSE WE HAVE LEARNED FROM THE BEGINNING THAT THE SKY IS BLUE , FOLIAGE IS GREEN , AND SO ON… </li></ul><ul><li>BUT THIS WILL PROVE APART ,ONCE WE STUDY THE COMPONENTS OF LIGHT AND THEIR REACTIONS ON YOUR “RETINA” WHICH GIVE VARIED SENSATIONS OF COLOUR. </li></ul><ul><li>SO LIGHT IS THE SOURCE OF COLOURS….. </li></ul>
  135. 146. <ul><li>WHAT IS “LIGHT” ? </li></ul><ul><li>ENERGY REVEALED BY EINSTEIN’S FORMULA E = MC2 , WHERE </li></ul><ul><li>M = MASS OR MATTER </li></ul><ul><li>C = VELOCITY OF LIGHT (OR SPEED) </li></ul><ul><li>SPEED OF LIGHT IN SPACE OR VACCUME IS CONSTANT i.e. , 1,86,000 MILES PER SECOND. </li></ul><ul><li>LIGHT </li></ul><ul><li>ELECTRO MAGNETIC WAVES CARRY ENERGY IN ALL DIRECTIONS THROUGH THE UNIVERSE . ALL OBJECTS RECEIVE , ABSORB AND RADIATE THESE WAVES. </li></ul><ul><li>LIGHT IS ONE FORM OF ELECTROMAGNETIC WAVES. ALL ELECTRO MAGNETIC WAVES IN SPACE TRAVEL AT THE SAME SPEED. </li></ul><ul><li>ELECTRO MAGNETIC WAVES SHOW A CONTINUOUS RANGE OF FREQUENCIES AND WAVE LENGTH. </li></ul><ul><li>FREQUENCY IS THE NUMBER OF WAVE – RESTS PASSING A POINT IN ONE SECOND. </li></ul><ul><li>ELECTRO MAGNETIC WAVES RUN FROM ONE / SECOND TO TRILLION / SECOND. </li></ul><ul><li>FOR LIGHT ,THE FREQUENCIES ARE 4 TO 8 TRILLIONS WAVES / SECOND. </li></ul>
  136. 147. <ul><li>SPEED OF THE WAVELENGTH. </li></ul><ul><li>HIGHER THE FREQUENCY , SHORTER THE WAVE LENGTH. </li></ul><ul><li>GAMMA RAYS -- AMOUNT OF ABSORPTION DEPENDS ON THE DENSITY OF </li></ul><ul><li>X – RAYS MATERIAL USEFUL FOR MAKING SHADOW GRAINS “ X” RAY </li></ul><ul><li>PICTURES. </li></ul><ul><li>ULTRA VIOLET – PRODUCED BY THE SUN / SPECIAL / AMPS NOT DETECTABLE </li></ul><ul><li>RAYS BY EYES. WAVELENGTH LONGER THAN “ X” RAYS BUT </li></ul><ul><li>SHORTER THAN NORMAL – LIGHT </li></ul><ul><li>VISIBLE LIGHT – PORTION OF EM SPECTRUM THAT NORMALLY STIMULATES </li></ul><ul><li>THE SENSES OF OUR SIGHT. </li></ul><ul><li>VISIBLE PART OF THE SPECTRUM. </li></ul><ul><li>FREQUENCIES AND WAVELENGTH – AREAS WHAT WE SEE AS </li></ul><ul><li>“ COLOURS “. </li></ul><ul><li>ISAAC NEWTON SUBSEQUENTIALLY DISCOVERED THE EXISTANCE OF COLOURS IN LIGHT ITSELF. </li></ul><ul><li>AS PER HIS THEORY </li></ul><ul><li>WHITE LIGHT CONTAINS SEVEN COLOURS. WHEN LIGHT PASSES THROUGH A PRISM , IT BENDS AND THEN BREAKS UP IN TO SEVEN DIFFERENT COLOUR RAYS. </li></ul><ul><li>THEIR NATURAL SEQUENCE IS CALLED THE “ SPECTRUM “ .DIFFERENT RAYS BEND TO DIFFERENT ANGLES ACCORDING TO THEIR WAVELENGTH. </li></ul>
  137. 148. <ul><li>THE REFRACTIVE ANGLE OF RED COLOUR IS ACCUTE AND THAT OF VIOLET IS OBTUSE. </li></ul><ul><li>THE REFRACTIVE ANGLES OF THE REMAINING COLOUR RAYS RANGE BETWEEN THESE COLOURS. </li></ul><ul><li>THE SEQUENTIAL COLOUR RAYS IN SPECTRUM ARE – </li></ul><ul><li>RED </li></ul><ul><li>ORANGE </li></ul><ul><li>YELLOW </li></ul><ul><li>GREEN </li></ul><ul><li>BLUE </li></ul><ul><li>INDIGO AND </li></ul><ul><li>VIOLET </li></ul><ul><li>IF THESE SEVEN COLOURS ARE BROUGHT TOGETHER AGAIN TO A FOCUS THROUGH A CONVEX LENSE , THEY RESULT IN SINGLE WHITE RAY. </li></ul><ul><li>DIFFERENT COLOURS SEEN ARE DUE TO THE VARIOUS LIGHT WAVES OF DIFFERING WAVE LENGTHS. </li></ul><ul><li>BECAUSE OF THESE DIFFERING WAVE LENGTHS , CERTAIN COLOURS ARE PERCEIVED EARLIER THAN OTHERS LIKE RED IS FIRST AND VIOLET IS LAST. </li></ul>
  138. 149. <ul><li>THE SENSATION OF PURE SATURATED COLOUR IS EXPERIENCED IF THE EYES ARE EXPOSED TO THE ONLY ONE WAVELENGTH OF LIGHT. MOST COLOUR SENSATIONS ARE THE RESULT OF RETINAL ( DOLA – PADADA) STIMULATION BY MIXED AND VARYING WAVELENGTHS OF LIGHT. THESE SENSATIONS ARE EXPERIENCED AS DULLER , LESS SATURATED OR DE-SATURATED COLOURS. </li></ul><ul><li>RAYS OF LIGHT PASSING THROUGH THE PUPIL AND THE LENS BEHIND THE IRIS IN THE EYE CREATE AN IMAGE ON THE RETINA. </li></ul><ul><li>RETINA CONTAINS SENSATIVE CELLS KNOWN AS CONES – WORK IN BRIGHT LIGHT WHEN WE REALISE COLOUR CLEARLY, </li></ul><ul><li>WHEREAS </li></ul><ul><li>THE RODS IN DIM LIGHT AND DARKNESS SENSATION OF COLOURS IS NOT DUE TO RODS BUT ONLY DUE TO CONES. </li></ul><ul><li>WE EXPERIENCE THAT -- </li></ul><ul><li>AT DUSK THINGS ARE COLOURLESS KEEPING GREYISH TONE. THIS TIME THE ‘CONES’ ARE DORMANT AND ‘RODS’ ARE ACTIVE GIVING SENSATION OF “FUZZY” MONOCHROME. </li></ul><ul><li>SENSORY NERVES CARRY THE MESSAGE FROM RETINA TO THE BRAIN. </li></ul>
  139. 150. <ul><li>HUE : IS THE QUALITY OF COLOUR BY WHICH WE DISTINGUISH IT FROM </li></ul><ul><li>OTHER COLOURS OR </li></ul><ul><li>HUE IS THE NAME BY WHICH WE RECOGNISE COLOUR. </li></ul><ul><li>VALUE : A SCALE WHICH SHOWS A SEQUENCE IN TONE VALUE OF COLOURS. </li></ul><ul><li>VALUE IS PERCEIVED OR APPERENT LIGHTNESS OR DARKNESS OF A </li></ul><ul><li>COLOUR. GREY TO BLACK – LIKE GREY SCALE. </li></ul><ul><li>A HIGH CHROMA COLOUR IS A VIVID PURE OR SATURATED COLOUR. </li></ul><ul><li>A LOW CHROMA COLOUR IS DULL OR GRAYED. </li></ul><ul><li>TONAL VALUE OF EACH COLOUR CAN GET AFFECTED BY ADDING WHITE OR BLACK. </li></ul><ul><li>THE GRADUAL ADDITION OF WHITE CAN PRODUCE –TINTS. </li></ul><ul><li>GRADUAL ADDITION OF BLACK CAN PRODUCE -- SHADES. </li></ul><ul><li>MAXIMUM ADDITION OF ‘WHITE’ GIVES “ HIGH VALUE”. </li></ul><ul><li>MAXIMUM ADDITION OF ‘ BLACK’ GIVES “ LOW VALUE”. </li></ul><ul><li>INTENSITY, CHROMA AND SATURATION – THESE QUALITIES OF COLOUR ARE CALLED THE STRENGTH OF COLOUR. </li></ul><ul><li>INTENSITY MAY BE REDUCED BY ADDING BLACK OR WHITE OR GREY TO THE COLOUR IN PURE FORM. </li></ul><ul><li>INTENSIVE COLOURS WITH A BACKGROUND OF WEAKER COLOURS FACINATES US. </li></ul>
  140. 151. <ul><li>SOME COLOURS GIVE US IMPRESSION THAT THEY ARE PROJECTING OUT OF PICTURE PLANE , SUCH COLOURS ARE CALLED ADVANCING COLOURS. </li></ul><ul><li>SOME COLOURS FALL IN THE BACKGROUND ARE CALLED RECEDING COLOURS. </li></ul><ul><li>COLOURS NOT HAVING AN ADVANCE OR RECEEDING QUALITY ARE CALLED NEUTRAL COLOURS. BALANCE IS NORMALLY ACHIEVED BY NEUTRAL COLOURS. </li></ul><ul><li>MIXING OF COLOURS – </li></ul><ul><li>MIXING OF LIGHT RAY AND MIXING PIGMENTS – ARE DIFFERENT FROM EACH OTHER BECAUSE THESE TWO PROCESSES ARE DIFFERENT BY NATURE. </li></ul><ul><li>SUBTRACTIVE METHOD </li></ul><ul><li>--------------------------------------------------------- </li></ul><ul><li>MIXING OF COLOUR PIGMENTS. </li></ul><ul><li>RED , YELLOW , BLUE ARE THE PRIMARY COLOURS. </li></ul><ul><li>SECONDARY COLOURS – </li></ul><ul><li>YELLOW + BLUE = GREEN </li></ul><ul><li>BLUE + RED = VIOLET </li></ul><ul><li>RED + YELLOW = ORANGE </li></ul><ul><li>THREE PRIMARY COLOURS MIXED RESULT IS MUDDY BLACK </li></ul><ul><li>ADDITIVE METHOD </li></ul><ul><li>---------------------------------------------------------- </li></ul><ul><li>MIXING OF COLOUR RAYS. </li></ul><ul><li>RED , GREEN , BLUE – VIOLET ARE THE PRIMARY COLOURS. </li></ul><ul><li>SECONDARY COLOURS – </li></ul><ul><li>RED + GREEN = YELLOW </li></ul><ul><li>GREEN + BLUE (V) = CYANINE </li></ul><ul><li>BLUE (V) + RED = MAGENTA </li></ul><ul><li>ALL COLOUR RAYS OR THE THREE PRIMARY COLOURS MIXED RESULT IN A WHITE RAY = LIGHT </li></ul>
  141. 152. <ul><li>COLOURS ARE MADE FROM PIGMENT SUBSTANCE OF MINERALS , VEGETATION, ANIMALS ETC. AS ALSO PIGMENTS OBTAINED BY CHEMICAL PROCESS AND AVAILABLE IN TUBES , BOTTLES. </li></ul><ul><li>TERTIARY COLOURS – </li></ul><ul><li>TWO PRIMARY COLOURS MIXING = SECONDARY COLOURS. </li></ul><ul><li>TWO SECONDARY COLOURS MIXING = TERTIARY COLOUR – MOSTLY DULL , MUDDY AND GREYISH. </li></ul><ul><li>P.C. -- Y + B = G, </li></ul><ul><li>B + R = V , G + V = BLUISH GREY </li></ul><ul><li>IN ABOVE MIXING , ONE OF THE PRIMARY COLOUR IS PROMINENT. </li></ul><ul><li>QUARTERNARY COLOURS – </li></ul><ul><li>BY MIXING OF TWO TERTIARY COLOURS. </li></ul><ul><li>BLUISH GREY + REDDISH GREY = V – GREY. </li></ul><ul><li>YELLOW GREY + BLUE GREY = G – GREY. </li></ul><ul><li>INTERMEDIATE COLOURS – </li></ul><ul><li>EVEN MIXING OF TWO PRIMARY COLOURS. </li></ul><ul><li>COLOUR SOURCE IS LIGHT </li></ul>SUBTRACTIVE METHOD ADDITIVE METHOD
  142. 153. SCHEME OF COLOURS FROM ONE FAMILY. O+ Y + G = HARMONY WITH PRESENCE OF YELLOW IN O AND G. ANY THREE CONSECUATIVE COLOURS ON THE COLOUR WHEEL. <ul><li>ANALOGUS HARMONY -- </li></ul>A CONTRAST COLOUR HARMONY. COLOURS OF DIFFERENT NATURE WITHOUT ANY SIMILARITY BECOME COMPLEMENTARY TO EACH OTHER IN THE SCHEME. R & G, Y & V – IN COLOUR WHEEL THESE PAIRS ARE OPPOSITE TO EACH OTHER. IF HARMONIOUSLY USED , BECOME COMPLEMENTARY. <ul><li>COMPLEMENTARY HARMONY -- </li></ul>SCHEME OF TWO OR MORE COLOURS WITHOUT THE USE OF BLACK , GREY , WHITE. <ul><li>CHROMATIC HARMONY -- </li></ul>USE OF ONE CHROMATIC COLOUR , USE OF GRADED SHADES AND TINTS OF ONE COLOUR WITH DIFFERENT NEUTRALISED TONE. <ul><li>MONOCHROMATIC HARMONY -- </li></ul>HARMONY WITHOUT CHROMA. RESULT IS ACHIEVED WITH THE USE OF DIFFERENT TONES OF BLACK AND WHITE. <ul><li>ACHROMATIC HARMONY - </li></ul>COLOUR COMBINATIONS WITH ONE OR MORE COLOURS WITH VIVID TINTS AND SHADES CREATING A PLEASANT AND AGREEABLE SENSATION TO THE EYES AND MIND OF THE OBSERVER. <ul><li>COLOUR HARMONIES -- </li></ul>
  143. 154. THE COLOURS AT THE THREE ANGLES OF EQUILATERAL TRAINGLE ON THE COLOUR WHEEL USE TO CREATE T.H. THREE PRIMARY/ THREE SECONDARY COLOURS Y.O / R.V / B.G AND R.O / B.V / Y.G DIFFICULT TASK BUT RICH AND BEAUTIFUL. <ul><li>TRIAD HARMONY -- </li></ul>SCHEME OF FOUR COLOURS – TWO ADJECENT COLOURS ON THE COLOUR WHEEL AND TWO ADJECENT OF ITS OPPOSITES –TO CREATE D.S.C.H. -- R/O – R/ V = YG AND BG <ul><li>DOUBLE SPLIT COMPLEMENTARY HARMONY -- </li></ul>WHEN A COLOUR ON A COLOUR WHEEL AND THE ADJECENT TWO COLOURS OF IT’S OPPOSITE ARE USED TO CREATE S.C.H. – RED – VIOLET = BLUE-VIOLET <ul><li>SPLIT COMPLEMENTARY HARMONY -- </li></ul>A PAIR OF TWO CONSECUTIVE COLOURS ON THE COLOUR WHEEL AND THEIR DIAGONALLY OPPOSITES ARE CALLED D.C.C. AND THE SCHEME IS CALLED D.C.H. GREEN / BLUE –GREEN – IS COMPLEMENTARY TO OPPOSITE PAIR OF RED / RED ORANGE. <ul><li>DOUBLE COMLEMENTARY HARMONY -- </li></ul>
  144. 155. TO OBTAIN THIS SCHEME , WE HAVE TO USE MAJOR AREA WITH DARK TONE , REMAINING AREA WITH LIGHTER TONE. SMALLER AREA WITH BRIGHTER TONE AGAINST THE DARK BACKGROUND LIKE EFFECT OF TWINKLING STARS AGAINST DARK SKY. <ul><li>LOW KEY HARMONY </li></ul>COLOURS WITH PROMINANCE OF RED ,YELLOW – BRIGHT , WARM AND ATTRACTIVE. ADVANCE COLOURS , EYE CATCHING. <ul><li>HARMONY OF WARM COLOURS </li></ul>COLOURS WHICH HAVE BLUES IN PROMINENCE = COOL COLOURS. COOL COLOURS ARE RECEDING , BUT PRODUCE SOOTHING EFFECT ON EYE. <ul><li>HARMONY OF COOL COLOURS </li></ul>VARIED COLOURS IN CONTRAST AND THEIR TINTS AND SHADES. <ul><li>HARMONY OF COLOURS IN CONTRAST WITHT THEIR TONES </li></ul>SIMPLEST SCHEME , ONE COLOUR HUE WITH BACKGROUND OF W. G. B. <ul><li>HARMONY OF ONE COLOUR HUE WITH W. G. B. </li></ul>COMBINATION OF DIFFERENT COLOURS , HUES IN CONTRAST USED WITH B. G. W. – BACKGROUND TO ENHANCE THE VIVIDITY. <ul><li>HARMONY WITH CONTRAST IN HUE </li></ul>
  145. 156. ONLY LIGHT TONES OF COLOURS. COLOURS APPEAR FLAT , LACK DEPTH. <ul><li>HIGH KEY HARMONY </li></ul>NO CONTRASTING EFFECT. ONLY BRIGHT AND MEDIUM TONES. NO DARK OR DEEP SHADES. <ul><li>MEDIUM KEY HARMONY </li></ul>
  146. 157. <ul><li>OPTICAL ILLUSION AND COLOUR PHENOMENON : </li></ul><ul><li>COLOURS , WHEN APPLIED , START REACTING.THIS REACTION IS ALWAYS INFUSED BY ESTABLISHING VARIOUS COMBINATIONS AND CHANGING OF LIGHT CONDITIONS – REACTIVATION OF THE SUBSTANCE OF COLOUR. THIS REACTIVATION IS MADE POSSIBLE BY THE VARIED QUALITY OF LIGHT AND THE WAY THE VISUAL MESSAGE IS CARRIED THROUGH OUR OPTICAL SYSTEM. SUCH A PHENOMENON AND VARIED POSSIBILITIES OF COLOUR OFTEN CONTRIBUTE TO THE MERIT OF WORK , RESULTING IN THE SENSE OF MOVEMENT. THIS PHENOMENON IS TERMED AS A ‘ KINETIC ASPECT’. </li></ul><ul><li>EXAMPLES OF OPTICAL ILLUSIONS : </li></ul><ul><li>SIMULTANEOUS CONTRAST OF HUE – </li></ul><ul><li>TWO OR MORE HUES COMING TOGETHER PRESENT AN AFFECTED LOOK. COMBINATION OF Y & B – YELLOW HAS A TINGE OF BLUE AND BLUE HAS TINGE OF YELLOW. </li></ul><ul><li>SIMULTANEOUS CONTRAST OF VALUE – </li></ul><ul><li>HIGH TONE AND LOW TONE COLOURS PLACED TOGETHER AFFECT EACH OTHERS TONAL VALUE. LIGHT VALUE OF HIGH TONE INCREASES , THE DARK VALUE OR LOW TONE ALSO INCREASES. GREY STRIP ON BLACK LOOKS LIGHTER WHILE BLACK BACKGROUND LOOKS DARKER. </li></ul><ul><li>SIMULTANEOUS CONTRAST OF CHROMA – WHEN CHROMA IS PLACED WITH A NEUTRAL COLOUR , THE CHROMATIC QUALITY OF CHROMA ( INTENSITY) IS INCREASED AND NEUTRAL COLOUR LOOKS DULLER. </li></ul>
  147. 158. <ul><li>OBSERVATIONS OF SIMULTANEOUS CONTRAST : </li></ul><ul><li>COLOURS ARE MODIFIED IN APPEARANCE BY THEIR PROXIMITY TO OTHER COLOURS. </li></ul><ul><li>LIGHT COLOURS SEEM MOST STRIKING AGAINST BLACK AND DARK COLOURS SEEM MOST STRIKING AGAINST WHITE. </li></ul><ul><li>DARK COLOURS UPON LIGHT COLOURS LOOK DARKER THAN ON DARK COLOURS. </li></ul><ul><li>LIGHT COLOURS UPON DARK COLOURS LOOK LIGHTER THAN ON LIGHT COLOURS. </li></ul><ul><li>COLOURS ARE INFLUENCED IN HUE BY ADJECENT COLOURS , EACH TINTING ITS NEIGHBOUR WITH ITS OWN COMPLEMENT. </li></ul><ul><li>IF TWO COMPLEMENTARY COLOURS LIE SIDE BY SIDE , EACH SEEMS MORE INTENSE THAN BY ITSELF. </li></ul><ul><li>DARK HUE ON DARK GROUND WHICH IS NOT COMPLEMENTARY WILL APPEAR WEAKER THAN ON A COMPLEMENTARY GROUND. </li></ul><ul><li>A BRIGHT COLOUR AGAINST A DULL COLOUR OF THE SAME HUE WILL FURTHER DEADEN THE DULL COLOUR. </li></ul><ul><li>WHEN THE BRIGHT COLOUR IS USED AGAINST A DULL COLOUR , THE CONTRAST WILL BE STRONGEST WHEN THE LATTER IS COMPLEMENTARY. </li></ul><ul><li>AFER IMAGE – </li></ul><ul><li>WHEN WE LOOK CONSTANTLY AT A COLOURED FORM AND SHIFT OUR GAZE ON A WHITE SURFACE, WE GET AN IMAGE OF THE COMPLEMENTARY COLOUR IN THE SAME FORM. </li></ul>
  148. 159. <ul><li>COLOUR IN VARIED CONDITIONS OF LIGHT – </li></ul><ul><li>CHANGE IN CHROMATIC FEEL DUE TO THE VARIED CONDITIONS OF LIGHT IS ALSO POSSIBLE. </li></ul><ul><li>COLOUR VIBRATIONS – </li></ul><ul><li>WHEN COOLCOLOUR HUES AND WARM COLOUR HUES ARE JUXTAPOSED , THEY GIVE AN IMPRESSION OF VIBRATIONS. </li></ul><ul><li>OPTICAL COLOUR MIXING – </li></ul><ul><li>IF DOTS ON ONE COLOUR ARE INTERSPERSED WITH THE DOTS OF ANOTHER COLOUR, TOTAL VISUAL EFFECT CREATED IS THAT OF THE THIRD COLOUR. </li></ul><ul><li>( Y + R = O , R + W = O ) </li></ul><ul><li>REVERSIBLE PERSPECTIVE – </li></ul><ul><li>TWO FORMS OF THE SAME PATTERN OFTEN PRODUCE DIFFERENT VISUAL EFFECT DUE TO THEIR TONAL DIFFERENCES. </li></ul><ul><li>MOIRE PATTERN – </li></ul><ul><li>WHEN TWO PATTERNS ARE OVERLAID, A NEW AND COMPLEX PATTERN EVOLVES. </li></ul><ul><li>OPTICAL ILLUSION THRIOUGH LINES AND TONES – </li></ul><ul><li>A MANIPULATION WHICH DISTURBS THE NORMAL VISION AND THE SENSE OF DIMENSION. </li></ul><ul><li>CONVERGING , DIVERGING LINES – </li></ul><ul><li>OPYICAL ILLUSION CAN ALSO BE INDUCED THROUGH THE MANIPULATION OF THE TONES. </li></ul>
  149. 160. <ul><li>VISIBILITY – </li></ul><ul><li>EVERY COLOUR DIFFERS IN VISIBILITY. </li></ul><ul><li>WHEN THE SAME SIZE , BUT OF DIFFERENT COLOUR IS PLACED AT AN IDENTICAL DISTANCE , SOME OBJECTS MAY APPEAR LARGER AND NEARER . YELLOW LOOKS LARGER. THE ORDER OF VISIBILITY -- Y . W. O. R. G. B. </li></ul><ul><li>THE INTERNATIONAL COMMISSION ON ILLUMINATION ( COMMISSION INTERNATIONALE D’ECAIRAGE OR ‘CIE’) DEVELOPED A SYSTEM TO IDENTIFY COLOURS WITH THE INSTRUMENTS THAT MEASURE COMPONENTS OF LIGHT. CIE SYSTEM DETERMINES THE NUMERIC VALUES X , Y, & Z. THE LIGHT FROM ANY SOURCE OR REFLECTED FROM ANY SURFACE CAN BE BROKEN DOWN INTO THREE NUMERICAL VALUES THAT SPECIALLY IDENTIFY THE COLOUR. </li></ul><ul><li>COLOUR VISION AND ECOLOGICAL USES : ( GIBSON 1966) </li></ul><ul><li>COLOUR VISION IMPROVES THE ABILITY TO DISTINGUISH SURFACES IN SIGNIFICANT WAYS. DISCRIMINATING AMONG COLOURS IS A PART OF THE GENERAL ABILITY TO DISCRIMINATE AMONG SUBSTANCES AND ENHANCES HUMAN SURVIVAL. </li></ul><ul><li>COLOUR VISION – CULTURAL CONTEXT </li></ul><ul><li>IN GENERAL COLOUR TERMINOLOGY AND GROUPING ARE CULTURALLY AND SOCIALLY DETERMINED. LIKE WHITE = PURITY IN WESTERN CIVILISATION , BUT WHITE = DEATH IN EASERN CIVILISATION. </li></ul><ul><li>COLOURED OR NON –WHITES = FEWER RIGHTS THAN BEING WHITE. </li></ul>
  150. 161. <ul><li>VISUALS : CD : AS INDICATED IN THE SCRIPT. </li></ul><ul><li>EXERCISES : 1. COLOUR WHEEL </li></ul><ul><li>2. TONAL CHARTS – BASIC COLOURS – </li></ul><ul><li>R TO WHITE / WATER / BLACK </li></ul><ul><li>BLUE… </li></ul><ul><li>YELLOW </li></ul><ul><li>WHITE TO BLACK </li></ul><ul><li>BLACK TO WHITE. </li></ul><ul><li>3. COLOUR AND DISTORTIONS </li></ul><ul><li>4. WORKING OUT COLOUR SCHEMES – COLOUR HARMONIES. </li></ul>
  151. 162. STUDIES IN -- BASIC DESIGN CONCEPTUALISED AND CARRIED OUT BY -- PROF. ARUN OGALE TOPIC – LIGHT COMPILED AND PRODUCED BY – AR. SUVARNA VAZE BASIC DESIGN RESEARCH & DEVELOPMENT CELL <ul><li>TOPIC TEXT </li></ul><ul><li>TOPIC EXERCISE BRIEF </li></ul><ul><li>TOPIC EXCERCISE MECHANISM </li></ul><ul><li>STUDENTS WORK </li></ul>
  152. 163. <ul><li>LIGHT </li></ul><ul><li>AS HUMAN BEINGS WE ALL SHARE CERTAIN NEEDS WHICH WE CAN CALL BIOLOGICAL INFORMATION NEEDS : NEEDS TO UNDERSTAND THE NATURE AND STRUCTURE OF OUR IMMEDIATE ENVIRONMENT , NEEDS WHICH ARE ROOTED IN THE “ DARWINIAN “ DRIVES FOR SURVIVAL AND SECURITY , NEEDS WHICH TRANSCEND THE SCOPE OF AESTHETIC SQUABBLES BASED ON PERSONAL FANCY OR MERELY CULTURAL DISTINCTIONS BETWEEN GROUPS OF HUMAN BEINGS. </li></ul><ul><li>MY EYES AND EXPERIENCE CONVINCED ME THAT FROM THE ANALYSIS OF SUCH NEEDS IT WOULD BE POSSIBLE TO DEVELOPE A NEW APPROACH TO THE DESIGN OF LUMINOUS ENVIRONMENT. </li></ul><ul><li>AS HUMAN BEING WE EVALUATE AN ENVIRONMENT ACCORDING TO HOW WELL THE ENVIRONMENT IS STRUCTURED , ORGANISED AND ILLUMINATED TO SATISFY ALL OUR NEEDS FOR VISUAL INFORMATION.THESE NEEDS DERIVE FROM BOTH THE ACTIVITIES IN WHICH WE CHOOSE TO ENGAGE AND THE BIOLOGICAL INFORMATION NEEDS RELATED TO THE VERY ESSENTIALS OF HUMAN NATURE WHICH ARE ALWAYS PRESENT REGARDLESS OF SPECIFIC ACTIVITY WHICH HOLDS OUR ATTENTION AT ANY ONE TIME. </li></ul><ul><li>THE ENVIRONMENT WHICH SATISFIES ALL OUR NEEDS RELEVENT , THIS QUALITY OF RELEVENCE WHICH DETERMINES WHETHER , WE CAN JUDGE AN ENVIRONMENT TO BE CHEERFULL OR GLOOMY , ATTRACTIVE OR DEPRESSING , SPRKLING OR GLARING. </li></ul>
  153. 164. <ul><li>IN THE RELEVENT APPROPRIATE LUMINOUS ENVIRONMENT , THOSE THINGS WHICH WE WANT OR NEED TO SEE ARE CLEARLY VISIBLE AND EMPHASISED , WHILE THOSE THINGS WHICH ARE DISTRACTING OR UNPLEASANT ARE DE-EMPHASISED OR HIDDEN FROM SIGHT. </li></ul><ul><li>THE RELEVENT ENVIRONMENT IS COMFORTING AND REASSURING , IT MAKES US FEEL AT EASE, WHILE HELPING US TO DO THINGS WE DO. </li></ul><ul><li>A GOOD , APPROPRIATE , RELEVENT , LUMINOUS ENVIRONMENT IS NOT ENOUGH . IT NEEDS TO BE WITH DEEPER UNDERSTANDING OF THE PRINCIPLES OF PERCEPTION AND OF THE TRUE , TOTAL NATURE OF HUMAN PERCEPTUAL NEEDS. </li></ul><ul><li>LIGHT HAS ALWAYS BEEN RECOGNISED AS ONE OF THE MOST POWEFUL “FORM-GIVERS” AVAILABLE TO THE DESIGNERS. </li></ul><ul><li>LIGHT IS IMPORTANT AND PRINCIPAL MEDIUM WHICH PUTS MAN IN TOUCH WITH IT’S ENVIRONMENT. </li></ul><ul><li>CORBUSIER RIGHTLY SAID THAT – </li></ul><ul><li>” ARCHITECTURE IS THE MASTERLY CORRECT AND MAGNIFICANT PLAY OF MASSES BROUGHT TOGETHER IN LIGHT” </li></ul><ul><li>AFTER CENTURIES OF PAINSTAKINGLY AND OFTEN INGENEOUSLY MANUPULATING OUR BUILDINGS TO SUIT THE VAGARIES OF NATURAL LIGHT , WE FIND PARADIXICALLY , THAT WE HAVE VERY LITTLE APTITUDE FOR MANUPULATING OUR NEW WEALTH ( THANKS TO EDISON) OF ARTIFICIAL LIGHT TO SUIT VAGARIES OF OUR BUILDINGS. </li></ul>
  154. 165. <ul><li>WHITE PANELS </li></ul><ul><li>-------------------------------------------------------------------------------------------------------------------- </li></ul><ul><li>SOURCE OF LIGHT : OIL LAMP / PANATI </li></ul><ul><li>PANELS APPEAR YELLOWISH ORANGE </li></ul><ul><li>ORANGE YELLOW LIGHT FLOODS THE AREA </li></ul><ul><li>CORNERS ARE FAINTLY VISIBLE </li></ul><ul><li>THE FLAME BEING ALONG THE BRIM OF THE LAMP , A LONG SHADOW OF THE CONTAINER IS CAST. </li></ul><ul><li>SHADOWS CAST ARE FAINT </li></ul><ul><li>ORANGE YELLOW COLOUR GIVES A WRM FEEL TO THE SPACE. </li></ul><ul><li>SOURCE OF LIGHT : NIRANJAN </li></ul><ul><li>A FRINGED SHADOW OF THE LAMP IS CAST OWING TO THE FRINGED BRIM OF THE CONTAINER. </li></ul><ul><li>SHADOWS ARE FAINT. </li></ul><ul><li>WARM ORANGE YELLOW LIGHT FLOODS THE AREA. </li></ul><ul><li>CEILING PANEL , WHICH IS NOT WHITE APPEARS BROWNISH YELLOW. </li></ul><ul><li>SOURCE OF LIGHT IS VISIBLE THROUGH SECOND OPENING. </li></ul><ul><li>FIRST OPENING SHOWS A MODERATELY ILLUMINATED AREA WHILE UPPERMOST OPENING SHOWS AN ILL – LIT MYSTERIOUS AREA. </li></ul><ul><li>OPENING CLOSEST TO BASE IS BRIGHTLY ILLUMINATED. </li></ul>
  155. 166. <ul><li>SOURCE OF LIGHT : CANDLE </li></ul><ul><li>LIGHT IS BRIGHTER THAN OIL LAMP / NIRANJAN. </li></ul><ul><li>INTENSE YELLOW LIGHT FLOODS THE AREA. </li></ul><ul><li>A WAVERING YELLOW FLAME ILLUMINATES AREA WITH A FLUCTUATING. </li></ul><ul><li>SOURCE BEING CYLINDRICAL AND LONG CASTS A BRWNISH YELLOW SHADOW THAT SHOWS A MOVEMENT PATTERN OWING TO WAVERING FLAME OF THE CANDLE. </li></ul><ul><li>NOT MUCH DIFFERENCE IN INTENSITY OF LIGHT IS SEEN THROUGH FIRST AND LAST OPENING. </li></ul><ul><li>SOURCE OF LIGHT : ZERO WATT BULB – YELLOW MILKY . </li></ul><ul><li>PANELS APPEAR YELLOW. </li></ul><ul><li>INTENSE YELLOW LIGHT FLOODS THE AREA. </li></ul><ul><li>SPHERICAL SHAPE OF THE SOURCE CASTS MINIMUM SHADOWS. </li></ul><ul><li>CORNERS VISIBLE. </li></ul><ul><li>A WARM AND FRESH AMBIENCE IS RENDERED TO THE SPACE. </li></ul><ul><li>SOURCE OF LIGHT : 25 WATT BULB – YELLOW MILKY </li></ul><ul><li>YELLOW LIGHT FLOODS THE SPACE. </li></ul><ul><li>ILLUMINATES MORE THAN THE ZERO WATT BULB. </li></ul><ul><li>A SMALL SHADOW OF SOURCE OF LIGHT i.e THE BULB IS CAST OWING TO THE ELLIPTICAL FORM OF BULB. </li></ul><ul><li>AS SOURCE IS ATTACHED TO THE CEILING , UPPERMOST OPENING IS BRIGHTLY ILLUMINATED. </li></ul>
  156. 167. <ul><li>SOURCE OF LIGHT : FLUROSCENT BULB </li></ul><ul><li>SOURCE CASTS SHADOW OF ITSELF. </li></ul><ul><li>PANELS APPEAR WHITE FOR THE FIRST TIME UNDER THIS LIGHT. </li></ul><ul><li>BLUISH WHITE LIGHT ILLUMINATES THE AREA. </li></ul><ul><li>SHARP EDGED SHDOWS ARE CAST. </li></ul><ul><li>THE BLUISH WHITE LIGHT GIVES THE SPACE A COLD BUT FRESH FEEL. </li></ul><ul><li>SOURCE OF LIGHT SEEN THROUGH THE FIRST OPENING IRRITATES. </li></ul><ul><li>--------------------------------------------------------------------------------------------------------------------- </li></ul><ul><li>BLACK PANELS </li></ul><ul><li>--------------------------------------------------------------------------------------------------------- </li></ul><ul><li>SOUCE OF LIGHT : OIL LAMP / PANATI </li></ul><ul><li>THE SOURCE ITSELF CASTS ALONG SHADOW. </li></ul><ul><li>SOURCE FAILS TO ILLUMINATE THE COMPLETE AREA. </li></ul><ul><li>SIDES OF THE BOX SEEMS TO COLLAPSE. </li></ul><ul><li>DARK MYSTERIOUS INSECURE FEELING IS RENDERED. </li></ul><ul><li>OPENING CLOSEST TO THE SOURCE IS BRIGHTEST. </li></ul>
  157. 168. <ul><li>SOURCE OF LIGHT : NIRANJAN </li></ul><ul><li>AGAIN A FRINGED SHADOW OF THE SOURCE IS CAST. </li></ul><ul><li>SHADOW IS DARK. </li></ul><ul><li>THIS SOURCE ILLUMINATES MORE INTENSITY THAN THE OIL LAMP. </li></ul><ul><li>CORNERS ARE NOT VISIBLE. </li></ul><ul><li>UPPERMOST OPENING IS THE DARKEST. </li></ul><ul><li>SOURCE OF LIGHT : CANDLE </li></ul><ul><li>BLACK COLOUR DOMINATES. </li></ul><ul><li>CANDLE CASTS AN INTERESTING SHADOW THAT CREATES AN INTERESTING MOVEMENT PATTERN. </li></ul><ul><li>AS SHADOWS ARE DARK , THE MOVING SHADOWS DRAWS ATTENTION. </li></ul><ul><li>CORNERS ARE VAGUALY VISIBLE. </li></ul><ul><li>SOURCE OF LIGHT : YELLOW MILKY BULB ( 0 WATT) </li></ul><ul><li>SOURCE ILLUMINATES AREA QUITE SUCCESSFULLY. </li></ul><ul><li>SPACE HAS A SOBER , MANNERED MOOD. </li></ul><ul><li>SHADOW OF THE SOURCE NOT CAST. </li></ul><ul><li>OPENING CLOSEST TO THE BASE IS DIMLY LIT. </li></ul><ul><li>UPPERMOST OPENING IS BRIGHTER. </li></ul>
  158. 169. <ul><li>SOURCE OF LIGHT : YELLOW MILKY BULB ( 25 WATT ) </li></ul><ul><li>SHADOW OF THE SOURCE IS CAST BUT IS QUITE INSIGNIFICANT. </li></ul><ul><li>THE FORM OF THE SOURCE OF LIGHT DRAWS ATTENTION. </li></ul><ul><li>THERE IS NO FLOODING OF YELLOW LIGHT OF THE BULB IN ALL CASES. </li></ul><ul><li>THE SPACE HAS A CLASSY MOOD. </li></ul><ul><li>CORNERS ARE VISIBLE DISTINCTIVELY. </li></ul><ul><li>SOURCE OF LIGHT : FLUROSCENT BULB </li></ul><ul><li>BLUISH WHITE FLOODS. </li></ul><ul><l

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