The document discusses the objectives and methodology of basic design courses in architectural education. It aims to expose students to the visual elements of design like space, form, and surface through a sequence of specially designed exercises. Students are encouraged to develop their own spatial concepts based on direct experience rather than theory. The evaluation is based on how well students can redefine their work.

25. ACTIVATION OF SPACE – BLANK SPACE

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

27. ONE MORE SIMILAR DOT TENSION IS CREATED

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

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

30. HAND MOVEMENT PENCIL STROKES – BALL & SOCKET JOINT

32. MOTIVATION OF LINE

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

34. OBLIQUITY OF LINES AND PLANES HELPS TO CREATE EFFECT OF DEPTH

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

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

37. SCALE OF PROPORTIONS BROAD TO NARROW IN PARALLEL AND OPPOSITE PROCESSION VERTICAL , PARALLEL LINES AS CONTRAST IN PROPORTION

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.

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

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

55. MAJOR AXIS WITHIN VIRTUAL SPACE MINOR AXIS

56. MAJOR AXIS WITHIN VIRTUAL SPACE MINOR AXIS

57. MAJOR AXIS WITHIN VIRTUAL SPACE MINOR AXIS

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

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

78. OBJECT

79. PATTERN

80. TONE

81. SURFACE TEXTURE

82. GROUND IS USUALLY LARGER AND SIMPLER THAN FIGURE

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

84. DECREASE IN SIZE SHOWS INCREASE IN DISTANCE

85. INCREASE IN NUMBER DECREASES THE DEPTH IN SPACE

86. OVERLAPPING SUGGESTS RELATING POSITIONS AND DEPTH

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

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

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

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

91. VISUAL WITH COMPLEXITY OVERWORKED CHAOS DISORDER

92. CLOSURE LOGO

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

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

96. SENSE OF ARRANGEMENT GROUPING BY SHAPES

97. GROUPING BY PROXIMITY

98. RANDOM

99. GROUPING BY TONE

100. GROUPING BY SIZE

101. PROXIMITY MAY BE OVERPOWERED BY SIMILARITY

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.

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

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.

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

107. FIGURE GROUND RELATIONSHIP- AMBIGIOUS , SOMETIMES EFFECTIVE

108. POSITIVE NEGATIVE CHARACTER

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

113. EMPHASIS

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