Architechture A Closer Look

Table&of&Contents&

Elements(of(Design(Line….......................................................................................5&

&Straight&Horizontal……………………………………………………….6&&Straight&Ver:cal………………………………………………….………..7&&Curved&Flowing………………………………………….…………………8&&Curved&Tightly………………………………………………………………9&

Texture…………………………………………………………….………….…….10&&Tac:le…………………………………………………………………………11&&Implied&Texture…………………………………………….…………….12&&NonMReflec:ve………………………………………………………….…13&&Reflec:ve…………..………………..……………………………………..14&

Light…………………………………………………………….……………………..15&&Track……………………………………………………………….…..……..16&&Natural……………………………………………………………..…………17&&Colored…………………………………………………………….……..….18&&SoS&Ligh:ng…………………………………………………..……………19&

Color……………………………………………………………….…………….……20&&Monochroma:c………………………………………………………….21&&Analogous…………………………………………………………….…….22&&Direct&Complementary……………………………………………….23&&Split&Complementary……..&………………………………………….24&

Space……………………………………………………….………………………..25&&Posi:ve&Space……………………………………………………….……26&&Nega:ve&Space……………………………………………………….….27&&Crowding………………………………………………………….……..…28&&&Territoriality……………………………………………………….……..29&

Shape………………………………………………………….……………..………30&&Abstract………………………………………………………………………31&&Geometric………………………………………………………….……….32&&Organic…………………………………………………………….…………33&&Dynamic……………………………………………………………….….…34&

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Form………………………………………………………….……………..……….35&&Geometric………..……………………………………………………..…36&&Natural………………………………………………………………….…...37&&Abstract………………………………………………………………..……38&&NonMObjec:ve…………………………………………………………...39&

(Principles(of(Design(Balance…………………………………………………………….………………..40&

&Visual&Symmetry…………………………………………………….…..41&&Visual&Asymmetry……………………………………………………….42&&Visual&Radial&Symmetry……………………………………….……..43&&Structural&Symmetry…………………………………………………..44&

Harmony…………………………………………………………….…….……….45&&Unity&through&Line……………………………………………………..46&&Unity&through&Shape…………………….…………………………….47&&Unity&through&Color……………………………………………………48&&Unity&through&Repe::on…………………………………………...49&

Emphasis……………………………………………………………….………..…50&&Focal&Point&Visual………………………………………………….……51&&Focal&Point&Structural……………………………………….………..52&

Massing………………………………………………………………….….………53&&Actual&Density………………………………………………………..….54&&Op:cal&Density………………………………………………….…..…..55&

Rhythm………………………………………………………………………..…….56&&Repe::ve………………………………………………………..…..…….57&&Clima:c………………………………………………………..………...….58&&Contrast……………………………………………………………......…..59&&Flowing…………………………………………………………..…….......60&

Propor:on…………………………………………………………….…….….….61&&Object&Propor:on&with&Space……………………………..…..….62&&Object&NOT&Propor:on&with&Space……………………….…….63&

Scale…………………………………………………………………………………..64&&Human&Scale………………………………………………………….……65&&Symbolic&Scale……………………………………………………..….….66&

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&Architecture:*A*Closer*Look*takes& the&

reader& into& not& only&what& you& see& on& the&

outside&of&a&structure,&but&we&go& inside&to&

look& at& the& interior.& In& the& core& of& the&

structure& are& Elements& and&Principles& that&

allow& everything& to& look& visually& pleasing.&

Whether& it& be& the& colors& of& the& furniture,&

the& textures& the&eye&picks&up,& the&amount&

of&light,&and&focal&points&that&draw&a&crowd&

in.& In& this&magazine,&we&will& take&a& look&at&

how&the&Elements&and&Principles&are&put&to&

the& test& and& todays& architecture.& The&

images& included& in& this& magazine& are& all&

mainly& from& the& East& Carolina& campus,&

surrounding& Greenville,& and& some& of& my&

travels.&&

Design&Thesis&

3&

works&of& art,& pictures,& furniture,& so&much&around&us& is&based&on& these&

simple&guidelines&that&Interior&Designers&use&to&make&rooms&look&visual&

pleasing.&Although& I&am&not&much&of&a&designer&myself,&my&passion&for&

photography& keeps& me& aware& of& these& guidelines,& especially& in&

architecture& and& its& interiors.& I& always& keep& in&mind& to& cri:que& things&

that&I&see&pleasing.&Ive&learned&that&if&I&see&something&I&like,&I&ask&myself&

“why& do& I& like& it?”& Could& it& be& the& color& scheme?& The& focal& point& and&

emphasis&or&the&object?&Is&it&the&forms&and&shapes?&Once&I&learned&how&

to&look&at&the&world&differently,&I&can&now&pin&point&exactly&what&makes&

it&visually&pleasing&to&my&eye.&And& it&all&goes&back&to&the&Elements&and&

Principles&of&Design.&

All&throughout&my&life&I&ended&up&

taking&art&classes,&middle&school&to&

high&school.&I&learned&about&the&rules&

of&making&a&successful&product&and&

how&the&Elements&and&Principles&of&

Art/Design&are&used&prac:cally&for&

everything&created.&&&Buildings,&&

4&

Line

&& Straight Horizontal Straight Vertical Curved Flowing Curved Tightly

&

The lines aon the East Carolina Police Center re horizontal. Horizontal lines often to set a soft mood or lead the eye. In this case, the viewers eye travels across the whole building. This also makes the structure look as if it were longer and wider.!&

HORIZONTAL ! LINES!

The vertical lines here show strength and power. By holding up the horizontal planks it adds a sense of stability to the structure. Vertical lines also are used to give an illusion of height by leading the eye upward. !&

VERTICAL ! LINES!

7&

Curved free flowing lines add a soothing mood that give the viewer a sense of freedom. Across campus these bike racks take the form of flowing curved lines, and in the photograph adds a soft touch.!&

CURVED FREE FLOWING!8&

These lines on the steps are curved tightly. They show energy and fast paced movement across the photo. Unlike free flowing lines, curved lines are often constrained. !&

CURVED TIGHLY!

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Texture

&&&Tactile Implied Texture Non-Reflective Reflective 10&

Tactile texture is texture that can actually be felt. In this structure the rusted interior can be seen and also felt. Tactile, or real texture, can be found in both nature and man-made objects. !&

TACTILE TEXTURE! 11&

Implied texture is texture that is seen but not felt. The side of this building looks as if it has texture of pebbles on it but up close it is smooth like granite. This is a good example because the same can apply for fabrics that look like they have texture from far away but in reality is a repeated motif.!&

IMPLIED TEXTURE !12&

Outside Menden Hall are cement pillars that have a “rocky” texture. This is an example of non-reflective texture which makes the structure look more stable and strong. !&

NON-REFLECTIVE " " " " " " " "TEXTURE!

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The mirrors on this mosaic sculpture in downtown Charlotte is an example of reflective texture. The light reflects from all the mirrors and adds more depth and form to the piece. Along with the texture, this structure is made entirely of curved lines.!&

REFLECTIVE !TEXTURE!

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Light

&& Track Natural Colored Soft Lighting

& 15&

Track lighting is a fixture with multiple lights that sit on a track where they all share the same electrical wiring. The individual lights are usually able to be pivotal to direct light in different areas of the room or for displays.!&

TRACK !" "LIGHTING!

16&

Natural lighting is light provided by the sun. In this photo, the natural light on a cloudy day allows soft shadows. This is preferred lighting in art because it does not produce harsh shadows and highlights that distract the eye. !&

NATURAL LIGHTING!

17&

Colored Light is used here are a decorative feature. It may be used for many reasons, for example Exit signs are red to grab attention for emergencies, and across ECU’s campus are blue lights that indicate an emergency poll. !

Colored Light!

18&

SOFT "LIGHTING!

This light fixture displays soft lighting. Soft lighting is a type of mood lighting that creates a calming and soothing feeling. These lights in the library give a sense or calmness that allow students to read or study without being intimidated by harsh lighting.!& 19&

Color

Monochromatic Analogous

Direct Complementary Split Complementary

20&

This room is an example of a monochromatic color scheme. It contains the hue of pink, but in various tints and shades. This interior is embellished with pink décor with accents of white. !&

MONOCHROMATIC!

21&

An analogous color scheme is one with colors that sit next together other on the color wheel. In the photo, the colors are analogous as it goes from green, blue, violet, red and orange. They are next to each other on the color wheel and form a sense of unity. !!

ANALOGOUS " " " " " "COLOR! 22&

Complementary colors are colors directly across from each other on the color wheel. In this photo green and red are used. Complements are often used together to make each look seem more vivid and bright. In the photo the red pops out to the views and the green makes a bold statement as it too stands out.!!

COMPLEMENTARY " " " " " " " "COLORS!

23&

This photo represents an example for a split-complimentary color scheme. It is one that contains a color and the colors beside it’s compliment. In this case red-violet is the color being used. Its compliment is yellow-green and beside yellow-green on the color wheel is yellow and green. The colors add a sense of comfort and softness. The yellow makes the room much brighter and the accent of the red-violet emphasizes the tea pot and floral design. !&

" " "SPLIT COMPLEMENTARY! 24&

Space

Positive Space Negative Space Crowding Territoriality

25&

Positive space is the object or main subject. In the photo, the building is the positive space and is the focus. The positive space is usually the solid or form in the plane which brings emphasis to a certain subject.!

POSITIVE SPACE !

26&

Negative space is space surrounding an object. In this work of art the negative space is around the structure, such as the sky and ground. Everything other than the red form is considered negative space.!&

NEGATIVE! SPACE!

27&

Crowding is seen here due to the amount of traffic and movement in such a small area. Central Station is famous for its large crowds that gather while traveling from one destination to another. This applies to the elements art because when planning you must think about the use of space, and also if placing furniture you must keep in mind the amount of room needed for circulation.!&

CROWDING!

28&

Territoriality is the sense of ones personal space. Office spaces, bedrooms, and personal studies are good examples as this is where a person goes to be alone for privacy in the workplace or at home. In work buildings cubicles are used to provide territoriality, much like this one pictured.!!

TERRITORIALITY !

29&

Shape

Abstract Geometric Organic Dynamic

30&

This sculpture is an example of an abstract shape, a shape that has resemblance to something else. It has the representation of fire or a flame. This figure is both abstract and organic.!!

ABSTRACT SHAPE ! 31&

The roof of the Old Cafeteria Complex is geometric. The triangles are a geometric shape meaning they are man-made. The placement of the triangles also bring attention to the top of the structure adding more visual weight. !!

GEOMETRIC !" "SHAPE!

32&

The floral design on the windows of the Bate building are organic shaped. Organic shapes are found in nature and are not man made. Organic shapes are usually curvy and randomly made and do not contain geometric shapes.!

ORGANIC!" " SHAPE!

33&

Dynamic shapes show movement or lead the eye to infer there is movement. On the NASCAR Hall of Fame in Charlotte the roof gives a sense of movement because of its curved shape which leads the eye across the structure. !!

DYNAMIC !" " "SHAPE!

34&

Form

Geometric Natural Abstract

Non-Objective 35&

GEOMETRIC FORM!

The New York skyline is an example of geometric forms. The buildings have the structure of squares, triangles, rectangles and many other geometric shapes. They are straight edged and have sharp angles. !!

36&

NATURAL!The Statue of Liberty is an example of natural form. The robe displays natural curves and folds. They occur naturally and randomly, unlike geometric forms which have a certain shape that they fall into.!!

37&

ABSTRACT FORM!

The giant ball at Epcot in Disney World is abstract, meaning it can be open to interpretation to what it really is. To some it could represent a golf ball, or to others something completely different. It is usually up to the viewer to ponder what the abstract form is supposed to be.!!

38&

NONOBJECTIVE " " " " " " "FORM!

The Guggenheim in New York is an example of Nonobjective form because it has no hidden meaning or representation. It is a form that was made up out of imagination and is completely abstract to the viewer. !!

39&

Balance

Visual Symmetry Visual Asymmetry

Visual Radial Symmetry Structural Symmetry

40&

Visual symmetry is being balanced and exactly the same when split in half. The windows on the ceiling of the Guggenheim show symmetry through the radial design. Where ever you split it down the center, the two pieces will always look exactly the same. !!

VISUAL SYMMETRY !41&

The shapes on the side of these two building indicate an example of visual asymmetry. Although the structure is symmetrical due to its rectangular shape, the lines divide the plane in an asymmetrical way. Visually, the architecture is asymmetrical. !!

VISUAL " " " " " " ""ASYMMETRY!

42&

Radial symmetry, in the glass design above the door, is when you can divide the plane in half anyway and will be completely the same. Circles will almost always be radially symmetrical, or even in nature such as flowers.!!

RADIAL ""SYMMETRY!

43&

The outside of these condos are a representation of structural symmetry as it is physically symmetric to the viewer. The pillars and balconies are constant a repetitive, all equidistant from one another. !!

STRUCTURAL " " " " "SYMMETRY! 44&

Harmony

Unity through Line Unity through Shape Unity through Color

Unity through Repetition

45&

This bathroom has a sense of harmony due to the similarity in the lines on the ceiling and blinds. The shadows and reflections add to the sense of complete harmony within the entire room.!!

UNITY THROUGH " " " " " " " " " ""LINE!

46&

The ogee shapes used on the walls, pillows, and wall décor tie everything together through shape. The shapes in the pattern allow the room to be unified.!

UNITY THROUGH " " " " " " "SHAPE ! 47&

Color is used here to for a consistent layout and mood that is visually unified to the viewer. Variations of yellow and warm colors are used to display the unity of the room from the light fixture to the couch. !!

UNITY THROUGH " " " " " " " " "COLOR!

48&

Repetition is used in this photo by placing the lights and bowls together on the counter. It repeats itself to form a pattern that unifies the room both through shape and color.!!

UNITY THROUGH " " " " "REPETITION!

49&

Emphasis

Focal Point Visual Focal Point Structural

50&

The vibrant colors above the kitchen draw the eye in. This is an example of a visual focal point. This could be used to get the viewer to pay closer attention to various areas of the room. !!

VISUAL FOCAL " " " " " " " "POINT!

51&

The focal point, area that has the most emphasis, is the chandelier and door. It was placed there to create a more dramatic look and give the viewer a sense of importance and priority.!!

STRUCTURAL ""FOCAL POINT!

52&

Massing

Actual Density Optical Density

53&

Actual density is density that can be felt and seen. It is almost always going to be three-dimensional, like the new World Trade Center pictured. It has form and is seen as visually being solid and dense.!!

ACTUAL DENSITY!

54&

OPTICLAL DENSITY!

Optical density is the illusion of having form and mass. The Apple store in New York is covered by a glass cube that gives the look of density, even if it isn’t fully solid.!!

55&

Rhythm

Repetitive Climatic Contrast Flowing

56&

Climactic rhythm is expressed when everything is tied together by a certain characteristic. In this case, this room contains many different designs, but the reoccurring use of orange ties everything together. !!

CLIMACTIC " " " " "RHYTHM !

57&

The contrast between the light grey and black on this building compliments each other. Together they are used to emphasize on another by the difference in color. Contrast can be used to bring attention to itself or to add emphasis.!!

RHYTHM THROUGH " " " " " "CONTRAST! 58&

Flowing rhythm is represented here by the free formed shapes of the drapes. The flowing lines that are seen allow the viewer to see flexibility and movement. !!

FLOWING RHYTHM!

59&

The pillars of the Science and Technology building create a repetitive rhythm. They are at constant distance apart and repeat all the way down the side of the building. This can be compared to constant beats in music. !&

REPETITIVE RHYTHM !

60&

Proportion

Object Proportion with Space Object NOT Proportion with

Space

61&

Objects within this kitchen are in proportion with one another. They accommodate to the needs of the user by the appropriate height, length, surface space, and functions. Proportion is the comparison between two or more objects. !!

OBJECT IN " " " " " " " "PROPORTION !" " " " " "WITH SPACE !

62&

This is an example of an interior that has objects not in proportion to it’s space. The furniture is much smaller than the space given, such as a lot of open space on the floor and very tall ceilings. One way to avoid this is by adding tall chairs, tall and linear wall fixtures and lighting can all give an illusion of a smaller space. !!" " " " "OBJECTS NOT "PROPOTION WITH SPACE! 63&

Scale

Human Scale Symbolic Scale

64&

Human scale is where an object has characteristics that have been added or created to accommodate the human body. The kitchen is an example because the chairs and stove tops are carefully measured to make it comfortable for the user. The countertop cannot be too high or too low, but instead must be of certain height for comfort. !!

HUMAN SCALE!

65&

The giant spoon in Minneapolis is an example of symbolic scale. This structure does symbolize a spoon and cherry, but these are normally not as large. They are much smaller in reality and are represented much larger for visual entertainment.!!

SYMBOLIC SCALE !

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67&

(Reference(Page(&Blunt&House,&Greenville&NC&pg.5&Slay&Hall,&Greenville&NC&pg.6&Joyner&Library&pg.7,&8,&17,&18&Menden&Hall&pg.10,&12&Green&Residence&Hall&pg.11&Charloge&Museum&of&Art&pg.13&West&End&Dining&Hall&pg.15,16&Waxhaw,&NC&pg.20,&22,&48,&62&Tumblr.com/interiors&pg.21,&23,&45,&46,&47,&50,&51,&56,&58,&62,&64&Jenkings&Building&pg.&25,&26,&30&Ney&York,&NY&pg.28,&35,&36,&38,40,&53,&54&Charloge,&NC&pg.30,&41,&42,&43&Old&Cafeteria&Building&pg.31&Bate&Building&pg.32&NASCAR&Museum&in&Charloge,&NC&pg.33&Disney&World,&FL&pg.37&Philadelphia,&PA&pg.57&&Science&Technology&Building&pg.59&Minneapolis,&MN&pg.65&