DESIGN THEORY (1)

Definition

A way to direct design based on a system of beliefs or philosophy.

-most fundamental beginning of design

-ex: theories of Mies van der Rohe, Wright

-theory is NOT a style

DESIGN THEORY (2)

How developed

-developed based on the designer's personal :

worldview

historic precedent

environmental design research

functional needs

how humans perceive their environments

a particular process of design

DESIGN THEORY:

Historic Precedent

-basing current design on ideas and styles of the past

-can be valuable contribution to DT by suggesting how past designs solved certain problems or represented particular ideals

DESIGN THEORY:

Environmental Design Research

-focuses on the theories of the interaction between humans & their environment

 -must be in a lab environment, where effects of a changing variable aren't affected by other variables

i.e. seating testing

DESIGN THEORY:

Functional Needs

-emphasis on providing simple, rational solutions to design problems w/o extraneous decoration

-developed/nurtured by Bauhaus school of design (functional w/o unnecessary decoration)

Le Corbusier - "a house is a machine for living in"

FUNCTIONALITY

DESIGN THEORY:

Theories of Perception

-with knowledge of these principles, designers can better understand why some designs do or do not work

-ID can use these principles to help make design decisions

DESIGN THEORY:

Theories of Perception

 GESTALT PSYCHOLOGY(1)

Humans innately perceive things as a whole so that what is perceived is complete and comprehensive.

-perception is not a response to individual bits of stimulus, but to the WHOLE

 & that people actively ADD structure to what they see rather than just reacting to it

simultaneous contrast: w/color, the same color appears to change depending on the background color it is seen against

DESIGN THEORY:

Theories of Perception

 GESTALT PSYCHOLOGY(2)

Concept of Grouping States

concept of grouping states -

proximity: objects that are closest together are seen as belonging together

similarity: the brain groups objects of similar shape, size, or color

direction: objects perceived to be moving simultaneously in the same direction are seen as a group

context/past experience: 2nd figure reads as a B in first group and as a 12 in the second, but exatly the same in both groups!:

DESIGN THEORY:

Theories of Perception

 GESTALT PSYCHOLOGY(3)

Closure

Closure: AKA "form constancy"

-the tendency to perceive incomplete forms as complete

DESIGN THEORY:

Theories of Perception

 GESTALT PSYCHOLOGY(4)

Continuity & Simplicity

continuity: tendency to see a line or shape as continuing in a particular direction rather than making a sharp turn

simplicity: people prefer the simplest, most stable organization of forms or the overall structure of elements in the visual field rather than complex individual parts

DESIGN THEORY:

Theories of Perception

 GESTALT PSYCHOLOGY(5)

Figure-ground

-describes the way people distinguish form from its surroundings

-can occur with 2D and 3D objects

DESIGN THEORY:

Theories of Perception

 Perceptual Constancy

Define PC & name the 4 types

Regardless of the constant changes of an object/space when viewed from different angles, w/diff. lighting, etc., a person perceives an object or a space as essentially the same regardless of the exact image on the retina of the eye

4 types: Shape, Size, Lightness, & Color Constancy

DESIGN THEORY:

Theories of Perception

 Depth Perception(1)

-a basic human ability

-left/right eye see slightly different views of the world

-this difference = binocular disparity

-it's most prevalent @ distances under about 10ft

-our perceptions change as distance increases

DESIGN THEORY:

Theories of Perception

 Depth Perception(2)

Name & define 6 types

Interposition: overlap o/a near object by a more distant object

Linear perspective: the common experience o/parallel lines appearing to recede toward a point in the distance

Atmospheric perspective: b/c there are many particles in the air, more distant objects appear to be hazy & may change color (seldom in Interiors)

Texture perspective: density o/a texture seems to increase as the distance from the view increases

Relative closeness of objects to the horizon line:

For objects below horizon line (on the ground), the closer objects are on the h-line, the farther away they are.

For objects above h-line, (in sky or above observer), the same holds true, but more distant objects appear lower in the visual field vs. closer objects.

DESIGN THEORY:

Theories of Perception

 Social & Cultural Influences (1)

- commercial design: cultural ideas about status/hierarchy are often relfected in the design of office space

-the highest ranking company officials get the larger, corner offices or a private office with a VIEW [practicum]

-lower-echelon workers are placed in small cubicles in an open plan

DESIGN THEORY:

Theories of Perception

 Social & Cultural Influences (2)

DESIGN CONCEPTS VS. PROGRAMMATIC CONCEPTS

programmatic concepts: [FIRST] no attempt at a physical solution is made during programing

-they guide the later development of design concepts

design concept: [SECOND] a general or overall idea of how a design problem will be approached

-takes into account the existing space within which the designer must work, its size, shape, entry points, windows, & other fixed element

CONCEPT STATEMENT: 1-4 sentences

COMPONENTS OF A DESIGN CONCEPT(1)

COMPONENTS OF A DESIGN CONCEPT(3)

Plan Arrangement - OPEN

OPEN: no space defining partitions w/i existing limits of the building, only objects are FFE

-difficult to use by itself as some spaces must be enclosed

-some enclosure criteria can be satisfied w/ lg. expanses of glazing

-typ. used where display of hierarchy thru separate spaces is not wanted

-function requires a free flow of people/materials/ideas

-where individual function areas change frequently

COMPONENTS OF A DESIGN CONCEPT(4)

Plan Arrangement - LINEAR

-spaces in a row, either connectly directly or related to a linear element, i.e. a corridor

-variations - bending line in L or U-shape

-practical - efficient way of connecting many diff. types/sizes o/spaces w/a circulation corridor and to provide access for exits

-often used to separate groups of enclosed spaces with a large open space

COMPONENTS OF A DESIGN CONCEPT(5)

Plan Arrangement -AXIAL

-aligns spaces on a significant feature or features, i.e. space entry, a view, architectural element, or formal grouping o/spaces can create an axis

-space creating axis is important, more than just a corridor

-combines some features of LINEAR & CENTRALIZED

-if two axes intersect, point o/intersection takes on special significance, often becoming centralized space

COMPONENTS OF A DESIGN CONCEPT(6)

Plan Arrangement -CENTRALIZED

-uses a single, dominant space with secondary spaces grouped around it

-this central space can be assymetrical or irregular in form as long as perceived as a single space & not a rambling, oversized corridor

-this plan is nondirectional & focusses attention on the central space

-central space may have symbolic or functional importance

COMPONENTS OF A DESIGN CONCEPT(7)

Plan Arrangement -CLUSTERED

-organized spaces based on proximity to each other

-can accomodate a variety of sizes/shapes of spaces

-well-suited for expansion or change

-for lg. areas, wayfinding in a clustered plan with many shapes & sizes of spaces & clusters can be problematic

-so most organized by axis, central space,or some strong visual element that helps ppl maintain their orientation

COMPONENTS OF A DESIGN CONCEPT

Space Relationships

adjacent spaces: most common type of interior relationship

-separated by a partition or other element

overlapping spaces: 2 spaces whose unique elements can be perceived but share a common space

-can sometimes create a 3rd space

spaces sharing a common space: retain their UNIQUE IDENTITY & are linked w/a 3rd space that has its own identity

ex: corridor being used as a common space

-the common space has its own Identity

space within another space: created when a clearly identifiable space or room is placed as an object within a larger open space.

-Gestalt : becomes a FIGURE-GROUND relationship

ex: private conference room in an open-plan office

-can signify status, hierarchy, or control

COMPONENTS OF A DESIGN CONCEPT

Components of Interior Design

-elements common to all ID/arch. that ID can use to solve clients' functional rqmts. as well as to create spaces that meet the user's emotional and psychological needs

incl: walls, ceilings, floors, steps, doors, & glazing

-by viewing them based on their performance requirements, ID can make better choices about specific construction materials

COMPONENTS OF A DESIGN CONCEPT

Details

Details resolve problems of connection and transition.

i.e. wall-ceiling connection

-they can be consistent w/ & reinforce the design intent

COMPONENTS OF A DESIGN CONCEPT

Lighting & Color

-one of most important design concepts - makes all things VISIBLE

-can emphasize, obscure, create mood, add interest, shape space, & provide variability in the environment

-can alter appearance of colors & materials by its type, color temp. of lamp, its intensity, & its position

color: one of the most emotionally charged components of any design

COMPONENTS OF A DESIGN CONCEPT

Materials

-functional purposes: finish, concealment, protection, sound modulation, light reflectance, & fire resistance

-aesthetic purposes: convey meaning, denote status, create style, symbolize ideals, & gen. add to overall look of the space

COMPONENTS OF A DESIGN CONCEPT

Furniture

-often considered primary component of ID (not true in all cases)

-occupies significant portion o/visual field in a space

-must satisfy client's functional needs & budget

-furn concepts:

light or heavy

soft or hard

small or large

colorful or neutral

similar to or contrasted w/architecture o/the space

COMPONENTS OF A DESIGN CONCEPT

Accessories

-anything not part of the structure or architecture of the space & not furniture

-should enhance design intent o/the space

-should COMPLEMENT NOT DOMINATE!!

DETERMINING & REPRESENTING SPACE RELATIONSHIPS

-programming identifies spatial relationships and assigns them hierarchy of importance

-relationships record in a matrix or graphically as adjacency/bubble diagrams

-must complete adjacency matrix on practicum based on programming information - KNOW

3. The given plan drawing diagrammatically illustrates a built-in seating space within a larger room. The overall shape would be perceived according to which Gestalt principle ?

A) simplicity  B) grouping

C) continuity D) closure

[image]

D

Closure is the tendency for people to view incomplete forms as complete, especially when the forms suggest a simple shape such as a circle or square. The seating arrangement shown in the diagram STRONGLY SUGGESTS a circle.

7. Preliminary space planning shows that it is impossible to satisfy all the programmed adjacencies shown on the adjacency matrix that has been approved by the client. What is the best course of action?

a) Verify that all adjacencies require physical connection, & then review the problem w/the client

b) Satisfy as many adjacency connections as possible, and present this to the client for review and approval

c) Ask the client to downgrade the importance of the problematic adjacency

d) develop several alternatives that come as close as possible to the requirements, and have the client select the one that best satisfies the program

A

The answers given in B & D are possible but would require that the designer make guesses and do a lot of work before the client would review the problem with the designer. Option C is too risky because the adjacency that is problematic may turn out to be the most important one for the client. Option A lets the client clarify the programming adjacencies and, if necessary, modify them so the designer can proceed with good information. If the client does want to see some sketches to prove that the required adjacencies cannot be made to work, these are already available from the initial work of the problem.

9. A design concept statement for a public gathering area around a fireplace in a ski lodge would probably NOT include the

A) size of the fireplace

B) number of individual seating groups

C) types of finish materials

D) method of lighting the space

A

The fireplace size (although important in final planning) is the most DETAILED aspect of the options and would probably least affect the overall design and feeling of the space.