2. STUDIES CARRIED OUT IN BASIC DESIGN [email_address] http://www.arunogalebd.blogspot.com PROF.ARUN OGALE ARCHITECT, PLANNER, SPACE CONSULTANT.

4. CD D VISUAL ASPECTS

5. INDEX 1. VISUAL ASPECT PRESENTATION 2. DOT LINE PRESENTATION

6. 1. VISUAL ASPECTS PRESENTATION

7. A. SPACE

8. SPONTANEOUS SPACE

11. SENCE OF PLACE IN SPACE

12. ACTIVATION OF SPACE – BLANK SPACE

13. A DOT ACTIVATES SPACE & BECOMES A FOCUS OR ATTENTION

14. ONE MORE SIMILAR DOT TENSION IS CREATED

15. ONE MORE DOT – LIGHTER / COLOURED / TEXTURED TENSION EASES DIRECTS THE MOVEMENT OF EYE EYE MOVES FROM BIGGER TO SMALLER

16. DISTRIBUTION OF SPACE IN SYMMETRICAL BALANCE DISTRIBUTION OF SPACE IN ASYMMETRICAL BALANCE

17. FORM INTRUDING IN EMPTY SPACE CARVES INTO A POSITIVE SPACE LEAVING UNOCCUPIED SPACE WHICH WE IDENTIFY AS NEGATIVE SPACE POSITIVE & NEGATIVE SPACES ARE OBVIOUSLY INTERDEPENDENT

18. BLANK SPACE / EMPTY SPACE DOES NOT RESTRICT THE ATTENTION AS SOON AS FIGURE IS PLACED IT ATTRACTS ATTENTION / PROVOKES EYE MOVEMENT PERCEIVING SPACE SQUARE WITH FIGURE RELATED WITHIN HORIZONTAL VERTICAL LINES TO THE OUTER FRAME- DIVISION OF SPACE PERCIEVED AS 2D IF FIGURE IS RELATED TO CORNERS WITH DIAGONAL LINES – PERCIEVED WITH 3D OBSERVE FEELING OF PULL OF VOLUME IN SPACE

19. DIVISION OF SPACE VERTICALLY AND HORIZONTALLY GIVES RELATIVE DEVELOPMENT OF SHAPES AND MASSES. SUCH DIVISIONS BRING CREATIVE ORGANISATION OF SPACE

21. B. STRUCTURE MATERIALS

22. PHYSICAL FORCES COMPRESSION SHEAR TENSION COMPRESSION SHEAR TENSION

23. THE RANGE OF FORM WITHIN ANY ONE

24. STRUCTURAL FAMILY IS RICH & VARIED

25. COMPRESSION SHEAR TENSION

26. COLUMNS BEAMS RAFTERS EXTERIOR SPACE INERIOR SPACE FLOORS WALLS ROOF EXTERIOR SPACE OPENINGS AROUND OR THEOUGH PLANES SOLID MASS DLOOR WALLS INTERIOR SPACE HOLLOWED FROM SOLID

28. STUDY OF CABBAGE STRUCTURE TEXTURE PATTER

29. C. DOT LINE PLANE

30. GROUND IS USUALLY LARGER AND SIMPLER THAN FIGURE

31. CONVEX SHAPES TEND TO BE FIGURE CONCAVE SHAPES TEND TO BE GROUND

32. UNBROKEN SHAPES TEND TO BECOME FIGURE AND SEGMENTED SHAPES TEND TO BECOME GROUND

33. WHAT DOMINATES THE EYE IS CONSIDERED AS FIGURE – MORE PASSIVELY DISPLAYED OBJECTS BECOME GROUND

34. PLACEMENT OF SHAPE AT THE TOP OR BOTTOM OF THE FRONTAL PLANE CAN DETERMINE WHETHER THE SPACE IS PERCEIVED AS FIGURE OR AS GROUND

35. FIGURE OR GROUND ARE SAME OR NEARLY SAME THIS BECOMES AMBIGUOUS

36. VISUAL WITH COMPLEXITY OVERWORKED CHAOS DISORDER

37. CLOSURE LOGO

38. CLOSURE CLOSURE IS THE RENDENCY OF THE VIEWER TO FILL IN THE SPACES IN AN INCOMPLETE VISUAL IMAGE IN ORDER TO MAKE THAT IMAGE VISUALLY COMPREHENSIBLE MENTALLY COMPLETE – USED CONCEPTUALISING SYMBOLS

39. HAND MOVEMENT PENCIL STROKES – BALL & SOCKET

42. POINT / LINE / PLANE A PATTERN OF POINTS PATTERN OF LINES PATTERN OF PLANES

43. OBLIQUITY OF LINES AND PLANES OF FORM HELPS TO CREATE EFFECT OF DEPTH

44. GRADED DECREASE IN SPACE IN BETWEEN LINES ADDS TO THE EFFECT OF DEPTH

45. BRIGHTNESS AND INTENSITY BRINGS THE FORM CLOSER TO US AND CONSEQUENTLY CREATES DEPTH

46. SCALES OF PROPORTIONS BROAD TO NARROW IN PARALLEL AND OPPOSITE PROCESSION VERTICAL PARALLEL LINES AS CONTRAST IN PROPORTION

51. VERTICAL HORIZONTAL EMPHASIS DYNAMIC DIRECTIONAL SUBDIVISIONAL TO FORM MORE COMPLEX TRIANGULAR GRID

52. VARIATIONS IN SIMPLE GRID TEND TO MAKE COMPOSITIONS MORE DYNAMIC GRID WITH MORE COMPLEX AREAS A SHIFT OR DROP GRID, SHIFTING ALTERNATIVE RAWS UP OR DOWN OR SIDE TO SIDE

53. DECREASE IN SIZE SHOWS INCREASE IN DISTANCE

54. INCREASE IN NUMBER DECREASES THE DEPTH IN SPACE

55. OVERLAPPING SUGGESTS RELATING POSITIONS AND DEPTH

56. IMMAGES DERIVED FROM THE ‘SUBJECT’ AND DEVELOPED WITH THE HELP OF GRID – FORMING SURFACE PATTERN SUCESSFUL VISUAL IMAGES

57. LINE ANALYSIS OF STILL LIFE

58. CONTRAST HORIZONTAL/VERTICAL LONG/SHORT BROAD/NARROW IN SQUARE CHARACTER

59. POINT LINE PLANE VOLUME LARGES SMALL HIGH LOW THICK THIN BROAD NARROW

60. (a1) (c) MANIPULATION OF LINE.

61. D. TEXTURE

62. TEXTURE MATERIALS HAVE TEXTURES TEXTURAL QUALITIES GIVE PHYSICAL REACTIONS WHEN TOUCHED

63. REGULARLY STRUCTURED IRREGULARLY STRUCTURED

64. TEXTURE QUALITY & PATTERNS SHADOWS CAUSE PATTERN LIKE VISUAL PERCEPTIONS VISUAL PERCEPTION GETS PATTERNNED WHEN COMPLEX IRREGULAR SLANTING SURFACES ARE PERCEIVED

67. SURFACE TEXTURE

68. TONE

69. PATTERN

70. OBJECT

71. E. SENSE OF ARRANGEMENT

72. GROUPING BY TONE- THE SQUARE OF THE SIMILAR TONE CAN BE SEEN AS BELONGING TO GROUP AS DISTINCT FROM SQUARE OF LIGHTER TONE GROUPING BY SIZE - LARGE SQUARES BELONGING TO GROUP AS DISTINCT FROM SMALLER SQUARES GROUPING BY SHAPES – SIMILAR BELONG TO GROUP

73. SENSE OF ARRANGEMENT GROUPING BY SHAPES

74. RANDOM

75. GROUPING BY PROXIMITY

76. GROUPING BY TONE

77. GROUPING BY SIZE

78. HOW COMPOSITION COULD STAND AS A TOTAL PROXIMITY OR CLOSENESS, NEARNESS IS THE MOST BASIC FORM OF SPATIAL ORGANISATION. WHEN OBJECTS ARE TOGETHER VIEWER TENDS TO GROUND THEM.

79. PROXIMITY MAY BE OVERPOWERED BY SIMILARITY

80. SIMILARITY CONCEPTUALLY SIMPLE IT IS A DESCRIPTIVE QUALITY OF A VISUAL CONNECTED WITH SIZE, SHAPE, COLOUR, ORIENTATION, TEXTURE HERE OPPOSITES REPEL AND SIMILAR ATTRACT AND FORM GROUPING.

81. SIMILAR QUALITIES UNITY WHERE AS DISSIMILAR QUALITIES SEPARATE A COMPOSITION SIMILARLY SOMETIMES MONOTONOUS AND OPPOSITE BECOME CHAOTIC SO BALANCE

82. STRONG FIGURE GROUND RELATIONSHIP CREATES VISUAL EXCITEMENT ATTRACTS ATTENTION VISUAL COMFORT (PSYCHOLOGICAL) WE TEND TO SIMPLIFY WHAT WE SEE

84. FIGURE GROUNDRELATIONSHIP AMBIGIOUS SOMETIMES EFFECTIVE

85. POSITIVE NEGATIVE CHARACTER

86. STRONG FIGURE GROUND RELATIONSHIP WITH CONTRAST HELP TO COMMUNICATE THE IDENTITY OF CHARACTER PROXIMITY SIMPLEST CONDITION OF ORGANISATION STRENGTHENS THE FORCE OF ATTRACTION BETWEEN PARTS IT EVOKES AND RESULTS IN STABLE -COHERENT - FIGURES

87. CHINESE PUZZLE TANGRAM

88. BLOCKING OUT CONTENTS

89. WHEN SUCH ELEMENTS ARE PLACED ADJACENT TO ONE OTHER IN SUCCESSIVE STAGES, THE FORM GROWS, PATTERN EMERGES.

90. CHINESE PUZZLE

91. F. SCALE PROPORTION

92. HUMAN BODY DIMENSIONS

94. HUMAN SCALE

95. GROUPING BY CONTINUITY – TOUCHING SHAPES – PART OF GROUP GROUPING BY PROXIMITY – SHAPES CLOSE – TOGETHER PART OF GROUP THAT EXCLUDES MORE DISTANT ONES GROUPING BY MOTION – THE SHAPES THAT APPEAR TO MOVE ARE GROUPED, AS DISTINCT FROM THOSE SHAPES THAT APPEAR STATIC

96. ORIGINAL SHAPES TYPES OF SHAPES – COMBINATIONS VARIATIONS ON THE SHAPE COMBINATIONS

97. THIS SHOWS A TWIG FULL OF LEAVES WITH CONTOURS FILLED WITH BLACK DRAWING INK. THIS PUTS ON EMPHASIS ON THE SHAPES OF THE SELECTED TWIG. ALSO LOOK AT THE ISOLATED SMALL EQUAL SQUARES TWIG – DRAWING INDICATES PATTERN FINDING POSSIBILITIES. SPACE – FILLING WITH NUMBER OF UNITS WITH SMALLER CHARACTERISTICS IS ONE OF THE WAYS OF ORGANISING SPACE HARMONIOUSLY .

98. PARTHENON COLUMNS WERE DESIGNED TO COMPENSATE FOR THE APPEARENT DISTORTIONS IN STRAIGHT LINES

99. CULTURE DEVELOPES STYLE MEASUREMENTS STYLE SYSTEM ARE CULTURALY BASED

100. G. VISUAL EXPERIENCE

101. SHIFTING IMAGES

103. PATTERN AND ILLUSION OF SPACE AND MOVEMENT

104. OPTICAL ILLUSION

105. MOIRE PATTERN

111. EMPHASIS AND DIRT

114. MAJOR AXIS WITHIN VIRTUAL SPACE MINOR AXIS

115. MAJOR AXIS WITHIN VIRTUAL SPACE MINOR AXIS

116. MAJOR AXIS WITHIN VIRTUAL SPACE MINOR AXIS

117. MAJOR AXIS WITHIN FIELD MINOR AXIS WITHIN FIELD APPROXIMATE FIELD BOUNDRIES

118. WITH MOVEMENT THROUGH SPACE THE CLOSENESS OF OBJECTS CAN BE JUDGED. SINGLE TREE MOVE MORE RAPIDLY ACROSS THE OPTIC ARRAY THAN DISTANT OBJETCS – GROUP OF TREES

119. SCATTERED POINTS OF ACCENT A THEME ‘THE MEETING’

120. WILD HORSE & HELPLESS DRIVER ON RATTLING CART

121. SIMPLE FRACTAL PATTERN IS TRANSFORMED INTO MORE COMPLEX ONE

122. CHINESE PUZZLE – TOKYO OLYMPICS SYMBOL

123. LOGO

124. SOME OF THE PARTS IDENTIFYING THE INDIVIDUAL MODULES RELATIONSHIP ESTABLISHED WITH POSITIVE NEGATIVE AREAS WITHIN ONE MODULE. IDENTIFICATION OF EACH MODULE IS DIFFICULT IN a & b. (a) (b)

125. 2. DOT LINE PRESENTATION

238. PROF ARUN OGALE

239. RESUME NAME PROF. OGALE ARUN VINAYAK AGE 65 YEARS PROFESSION ARCHITECT PLANNER, SPACE CONSULTANT ADDRESS 3/C DHAVALGIRI PARK SOCIETY, NEAR PRATIDNYA HALL,KARVE NAGAR, PUNE – 411052 PH: 020-25438578 E-MAIL [email_address] WEBSITE http://www.arunogalebd.blogspot.com QUALIFICATION G.D.ARCH(MAHARASHTRA) EXPERIENCE WORKED WITH THE NATIONAL DESIGN INSTITUDE AT AHMEDBAD WORKED WITH KANVINDE & RAI ARCHITECTS, NEW DELHI