IDE 3
WEEK ONE
Mr Paul Turley
email: p.turley@griffith.edu.au
Assessment 1: Group assignment
Research project - 30% - due week 4
Assessment 2: Individual
Portfolio upload and poster presentation in class - 40% - due week 10
Assessment 3: Individual
Technical drafting and FF&E - 30% - due week 12
Lecture Notes - Sensory Spaces 1: The senses and the designed environment
Inform design judgement
Capturing lived experience: embodied understanding Merleau Ponty:
- knowing comes as much from embodied experience as it does from thought and reflection
- sensation leaves impression on the body
- the body is a source of primary awareness:
A bodily 'intentionality' that provides our initial grasp or sense of a situation
Typing as embodies understand
Perception as embodied and multisensorial
Experiences mediated by the senses
- smell and memory
- senses relates with the emotion
Architecture is the art of reconciliation between ourselves and the world, and this mediation takes place through the senses.
The importance of the senses in informing our design judgements:
- developing an "emphatic imagination:
- tuning a space to support and enhance human dispositions
Design judgement is powered by volition.
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Tutorial
Form group members
: Jessica Patricia, William Nguyen, Scout Leman, Delenn Sheppard, Melanie Robles
Conduct an interview an individual who lost one of the senses (eg. blind person, hearing impaired etc.)
Ask questions regarding challenges in the daily life, are the other senses more activated etc.
WEEK TWO
Lecture Notes - Sensory Spaces 2: "Feeling at home" or "Out of public": A case study
Plan of the lecture:
- the library as a space that includes and excludes
- the role of the senses
The library as a space that includes and excludes
- traditional libraries were designed to avoid noise
- to be legitimate participant, one had to know to lower one's voice and all the self-disciplined than the space requires
The Rose Reading Room New York Public Library
- It has an 'awesome and imposing structure'
- Large white marble halls that amplify even the smallest sound and betray one's 'uncivil behaviour'
- Sam patrons were particularly conscious of their noise-making behaviours: pushing in a chair, closing a book, slipping pages, due to the 15.5 m ceilings, quarry tile floors and heavy wooden chair
The Sonic Landscape
- traditionally this could deter and intimidate those who were not atoned to the sensory environment
- it demand a break with the everyday attitude to being in the world
- one could easily be seen as not fitting in
The Seattle Public Library
- The sonic design of this space creates a particular conditions of attendance, which in turn affect visitors perceptions of and interactions with media and architecture
- Finishes, furnishing and a host of other design cues world together to structure the range of possible behaviours to establish a habitus appropriate for the function of the space
The role of the senses in and out of place
- The sonic aspect of library design can make a great difference in the possibilities and opportunities for benefiting from the space
- This is related to the way sonic design allows those who might otherwise be deterred from library use of to feel more at home there rather than left out
Sonic relationships that can make people out of place
Cultural Capital: knowing the 'code' of the library
- People's background vary a lot in the emphasis given to the dispositions associated with institutions embracing middle class codes of discipline and comportment
- Those who grow up accustomed to being in these institutions and knowing and respecting their written and unwritten rules feel more at home there and could benefit more from the resources they offer
- Pierre Bourdieu calls this "cultural capita": a set of knowledge. understanding, and behaviours that constitute an "entry fee" to cultural institutions and their benefits
What guides our sense of not fitting into sensory places
- Merleau Ponty: Habituated responses are organised by our bodily senses - the senses mediate the way our body 'understands' what to do.
- Bordieau: we approach every situation with a set of embodied dispositions - habitus - that provide us with a bodily sense of our place in certain settings and space.
- Our habitus is formed as a result of upbringing and then continue to be shaped by our experiences. It guides the way we improvise our way through encounter and experience
How do we explain the feeling of being left in the library?
- Offers cultural capital to all succeeded in benefiting from its sources
- Traditionally it was organised around a sensory environment that emphasised silence and solitary scholarship: scholarship for its own sake
- This is always going to favour those whose habitus has been formed with these values and practices: an embodies sense of what to do
- It is going to produce a feeling of being alienated again learned through body senses - in those who are not familiar with it
- The sonic environment where even small noises are accentuated and noticed presents a risk to those who feel out of place - a risk of exposing their lack of familiarity
Book: The Eyes Of The Skin
Notes:
- concerned about the bias towards vision, and the suppression of other senses in the way architecture was conceived, taught and critiqued
- architecture is the primary instrument in relating us with space and time
- architecture has been regarded as an art form of the eye
- the eyes are the organic prototype of philosophy
- buildings of this technological age usually deliberately aim at ageless perfection and they do not incorporate the dimension of time or the unavoidable and mentally significant process of ageing
- the sense of sight over other senses is an inarguable theme in western thought and is an evident bias in the architecture of our century
Favourite Quote:
Susan Sontag: "the reality has come to seem more and more what we are shown by camera".
I like this quote because it refers to how modern architectures has become too perfect that it is catering to please the eyes and the camera of the society and therefore, many often neglects the purpose and the story behind the building.
Habitus:
Our habitus is formed as a result of upbringing and then continue to be shaped by our experiences. It guides the way we improvise our way through encounter and experience. Coming from a Filipino family, the culture naturally is a part of me and therefore influences my habitus. Some of these habitus includes, addressing someone older with respect by calling them tita (auntie), tito (uncle), kuya (older brother), ate (older sister), lolo (grandpa) or lola (grandma). As well as, doing 'mano-po' to the elders, by asking for their hand and placing your forehead on the back of their hand. It is a gesture as a sign of respect to the elders, regardless whether you are related or not. Also, because majority of the population practices Christianity and Catholicism, I was brought up having to attend mass every Sunday. Another habitus is that, praying over the food and having rice as a staple meal. However, because I spent more years living in Australia, their culture and behaviour has also influenced my habitus. Such as, the use of slang, being accustomed to food such as: meatpies, lamingtons, pavlova, barramundi etc.). As well as, driving and walking on the left side and not having to give tips to customer service.
Interview
Interview with visually impaired person
What can you see?
I cant see anything- its nothing, I cant associate a colour with it. All I see is light or dark- I can see the presence of light in a room, no shapes or shadows. I can tell if the sun is coming through in a room – just see a light source. I can hear a sound in a room too. Its hard to explain.
What are the most challenging aspects you face everyday?
Reading letters, like bills etc that come in the post. However, there is now software & technology that can assist with these things. For example at work i use a program called Jaws which reads the actions of the screen to me and i listen and can navigate the computer and complete my work.
Also, psychological need to know whats happening around me as you can hear whats happening but can't see and if it goes silent, i always think 'are they talking about me?'
I can now use technology such as iphone and apple watch to call/text people
Grocery shopping is challenging- usually have to call ahead and place the order over the phone for delivery
Finding a seat on the bus- usually touch the tops of the chairs to see if I can touch a head or if there is nothing then I know there is a seat unless someone tells me I can sit down
Grocery shopping is challenging- usually have to call ahead and place the order over the phone for delivery
Finding a seat on the bus- usually touch the tops of the chairs to see if I can touch a head or if there is nothing then I know there is a seat unless someone tells me I can sit down
Do you use a cane or do you have a guide dog?
I use a cane
Personally, do you think your loss of sight enhances your other sense?
That’s a tough question because I am not too sure. I know a few people who are visually impaired and I guess you could say it’s a natural presumption that the other sense are automatically enhanced.
I guess I'm good at remembering.
I guess I'm good at remembering.
Smell- I can walk past a shop and smell its content and then I'm subconsciously drawn to the shops
Hearing- after a while or identifying people but doesn’t happen straight away so don’t think I can remember peoples voices immediately as it does take time
Try and remember the smell and sound of the space- it creates the experience and helps me remember.
How do you differentiate between colours?
I am totally blind and only have light perception.
I am totally blind and only have light perception.
What is the most challenging this about being blind?
shopping for clothes- usually have to take somebody with me, tell them what I want and get them to pick out what matches/looks good. I can touch the clothes and usually distinguish what is what and when I need to get ready I ensure that I always put the tops/pants
shopping for clothes- usually have to take somebody with me, tell them what I want and get them to pick out what matches/looks good. I can touch the clothes and usually distinguish what is what and when I need to get ready I ensure that I always put the tops/pants
When navigating through spaces, do you look/feel for certain landmarks which allow you to stay on course?
If I am ever lost, I can hear people walking by so I will just ask them if I am ever lost or they will try to stay quiet and pretend I'm not there. For example when crossing a busy road, i can usually hear the cars stop and other people stop by their footsteps.
There are now apps with GPS tracking devices that talk to me and navigate. I also have a good memory and can try remember the paths I've walked or navigate- for example when we moved into the new office, I had an aid who sat with me for a week, we would walk the same bus route, to my desk, up the lifts, to the bathroom and kitchen every day for a week. My aid would then test me and say ‘ok lets go to the bathroom’ and I would find it myself so after 1 week of practice, I get good at remembering where to go /navigate- I guess this becomes harder with the new spaces. Now after a few weeks when I need to go to the kitchen or bathroom, I wont take my cane and just run my hand along the walls of the office and by touch, ill know where the door to the toilet is (braille on the sign).
When using my cane it helps to navigate or locate steps, curbs, streets, driveways etc.. i've had years of practice using my cane (you can feel the texture from the tactile markers or a drain)
Sometimes you can smell landmarks e.g. remembering the smell of that tree or café close to work. Sometimes on foot paths it is hard to walk in a straight line when there is no guide to prompt you and ensure you are walking straight and sometimes I will bump into things
As time goes on, I make a mental map e.g. my house. I don’t use my cane, I know where everything is, i've memorised it. Or if I buy a new table, I can feel the table and try and remember where it is for future.
Do you ever feel people are more condescending to you as a result of your condition?
yes only sometimes though as people expect me to have much more limited capabilities- for example, someone saw me trying to cross a busy intersection in the city once and asked if I needed help. I can hear the cars coming and other peoples steps stop, so I know not to stop. I feel confident and don’t need help crossing the road.
yes only sometimes though as people expect me to have much more limited capabilities- for example, someone saw me trying to cross a busy intersection in the city once and asked if I needed help. I can hear the cars coming and other peoples steps stop, so I know not to stop. I feel confident and don’t need help crossing the road.
What challenges do you face on a daily basis?
little injuries- nuisance
might bump my knee, hit my head, burn my finger but its ok
little injuries- nuisance
might bump my knee, hit my head, burn my finger but its ok
Do you see yourself living a challenging lifestyle?
No
No
How do you experience things in ever day life?
I use sound and touch to create images which I assume my brain processes in a similar way to how yours processes images
Do you understand what colours are?
no – but I try to associate colours with concepts. E.g. fire is red, water is blue
no – but I try to associate colours with concepts. E.g. fire is red, water is blue
How do you see a space or place when you’re blind?
with a hotel room for example- I use my hands to feel around- once I enter the room
with a hotel room for example- I use my hands to feel around- once I enter the room
I can touch and feel the bed, window, closet
can tell how specifically big a room is by the space
just on a side note – airports- they are very challenging places to navigate. I don’t know where a check in desk is, there is no way to know. When I travel usually am with someone but if I am alone I will usually have to pre-arrange an airport assistant to take me from the taxi- check in – security- boarding the plane etc.
can tell how specifically big a room is by the space
just on a side note – airports- they are very challenging places to navigate. I don’t know where a check in desk is, there is no way to know. When I travel usually am with someone but if I am alone I will usually have to pre-arrange an airport assistant to take me from the taxi- check in – security- boarding the plane etc.
WEEK THREE
Experiment
During the experiment, my eyes were blindfolded to experience and understand the challenges a visually impaired person face on a daily basis. I found it challenging to do the task I was supposed to do, which was to buy a bread. It was difficult navigating my way around and had trouble locating where the bag and the tong needed to get the bread. After identifying these items, the most challenging aspect was getting the right bread. It was difficult because the bread storage all felt identical and I had no way of differentiating them apart. I had to rely on my two senses, touch and smell to try and get the right bread, but even so I failed to do this task.
WEEK FOUR
Pecha Kucha presentation
WEEK FIVE
Inclusive Design 1 - disability, the NDIS and the role of design
Sensory spaces 1: considering the senses as a measure of understanding the embodied experience of designed spaces
Sensory space 2: locating the embodied experience of space in the context of broader problems of inclusion and exclusion
Inclusive spaces 1: disability as a key factor in social inequality in Australia: how do we design for change under the NDIS?
Disability in Australia
- often defined as any limitation, restriction or impairment which restricts everyday activities
- almost 1 in 5 people (4.3 million) have a disability
-35.9% (3.2 million) of Australian households have a person with a disability
UN convention
- Australia ratified the United Nation Conventions on the rights of persons with disabilities o 17 July 2008 - one of the western countries to do so
- promote, protect and ensure the full and equal of all human rights and fundamental for people with disability and promote respect for their inherent dignity
Disability increases likelihood of experiencing social inequality:
Income inequality
- 45% are living either near or below the poverty line, more than double the OECD average of 22%
- 2.7 times more likely to be at risk of poverty than other OECD
Employment inequality
- 27% work full time, compared with 53.8% of those without disability
- unemployment rate for disabled people is 10% compared to the 5.3% for people without
- Australia ranks 21 out of 29 OECD countries for labour force participation of people with a disability
Education inequality
- 41% of people age 15-64 years have completed year 12, compared to the 63% without disability
- 17% of people have completed a bachelor degree or above, compared with 30% without disability
Addressing Inequality:
01: Inclusive society is a society for all , where every individual has an active role to play
02: People have the resources to participate in fields of working life, education, civic and political life
03: People are able to convert these resources into a valued life
Amartya Sen:- there are a number of universal human needs associated with individual flourishing
- the issue is whether institutions allow the flourishing of individuals
The NDIS: National Disability Insurance Scheme
- The vision is for an inclusive Australian society that enables people with disability
Two levels of NDIS strategies:
1: Funding and support services for people with permanent and significant disability -
around 460,000 Australians
2: Through the information, linkages and capacity building program (ILC) - Facilitation and support for all people with disabilities to fulfil their potential in communities and organisations - 4.3 million Australians
- The NDIS insurance model: the flourishing of people with disabilities is good for the economy
Employment:
- would rise between by 100,000 (more profound) and 320,000 (using broader definition) by 2050
- could amount to 1% of GDP or $32 billion in additional GDP
The role of design in addressing inequality under NDIS:
- not just accessible communities but designing inclusive communities, designing for change
What guides our sense of not fitting into spaces?
Merleau Ponty: Habituated responses are organised by our bodily senses - the senses mediate the way our body "understands" what to do
Bourdieu: We approach every situation with a set of embodied dispositions - habitus that provide us with a bodily sense of our place in certain setting and spaces
- Our habitus us formed as a result of upbringing and then continues to be shape by our experiences. It guides the way we improvise our way through encounters and experiences
- The need for universal design: taking a universal approach to programs, services and facilities is an effective way to remove barriers that exclude people with disability. Universal design allows everyone, to the greatest extent possible and regardless of age, disability, to use buildings, transport and products and services without the need for specialised or adopter features.
8 goals of Universal Design: elements of feeling "in place"
- body fit
- comfort
- awareness
- understanding
- wellness
- social integration
- personalization
- cultural appropriateness
RESEARCH
The Psychology of Colour Influences Consumers' Buying Behaviour -
A Diagnostic Study
J Suresh Kumar
- Every colour creates different meaning according to the consumer perception. White and black colour is used for creating an image of power, red for energy, blue is used for trust, green for balance.
- Green is primarily associated with nature and elicits positive feelings such as relaxation and calmness
- Blue is associated with water, eliciting positive responses including comfort and peace
- Red is associated with love and is considered to be a colour of dominance
- Black is associated with power
-Yellow and oranges are associated with happiness
What is Disability?
A disability is any condition that restricts a person's mental, sensory or mobility functions. It may be caused by accident, trauma, genetics or disease. A disability may be temporary or permanent, total or partial, lifelong or acquired, visible or invisible.
What is multi-sensory design?
- recognises that humans experience and react to a work environment in many ways, subtle and obvious, consciously and abstractly
- It allows for a rich experience by creating a ‘conversation’ between designer and work space user
- Multi-sensory design has been developed from the idea that humans experience a space or environment in numerous ways – more than just visually
What are the benefits of Multi-sensory Design Experience in the Workplace?
- Increase the attractiveness and desirability of the workplace – Employees who feel comfortable, healthy and connected in their workplace will be more enthusiastic to come into the office and share the space with others
- Improved employee awareness towards workplace well-being
- Improved mental and physical health of employees
- A thoughtful and considered work space design will decrease stress and increase productivity in employees
What is the NDIS?
- a new way to provide support Australians with disabilities, their family and carers
-information and referrals to existing support services in the community
- provide reasonable and necessary support they need to enjoy an ordinary life
- help achieve goals
-independence
-community involvement
-education
-employment
-health and well-being
- a lifetime approach
Why do we need NDIS?
- People with disabilities have the rights and choice to control their lives
- Recognises that everyone’s’ needs and goals are different
- Provide individualised support
- Replaced a disability system that is unfair and inefficient with a new national system, that is world leading equitable and sustainable
- provides certainty and consistency
- Peace of mind that they will get the support they need when they need it
WEEK SIX
Inclusive Design 2: Socio-spatial experience of intellectual disability
The role of design in promoting capabilities for participation and human flourishing: a case of the socio-spatial experience of intellectual disability.
1. Capability and flourishing
Fit and misfit as a relationship not a person fitting and misfitting
- an encounter in which two things come together in either harmony or dis-junction
- a misfit, conversely describes an in-congruent relationship between two things: a square peg in a round hole
- the problem with a misfit, then inheres not in either of the two things but rather in their juxtaposition, the awkward attempt to fit them together
Misfitting produces segregation
- outcast status is literal when the shape and function of their bodies comes in conflict with the shape and stuff of the built world
- primary negative effect of misfitting is exclusion from the public sphere
- disadvantage of disability comes partly from social oppression encoded in attitudes and practices, but it also comes from the built and arranged environment
2. The Nature, History and Experience of intellectual disability: Institutionalisation and de-institutionalisation
Intellectual disability
- experience difficulties arising from their impairment, characterised by significant limitations both in intellectual functioning and adaptive behaviour as expresses in conceptual, social and practical adaptive skills
- equally suffer from society's response to that impairment, which leads to limited participation opportunities
Era of institutionalisation
- physical segregation, regimentation
- "total institution" - a master of inmate, very little opportunity for individual expression and participation
Total institutions
- a place of residence and work where a large number of like-situated individuals, cut off from the wider society for an appreciable period of time, together lead an enclosed, formally administered life
- all aspect of life are supervised and standardised through rules
- characterised by formal and informal practices designed to humiliate, degrade and deface the identity of the institutionalised person
De-institutionalisation- the quality of life improved
- learned adaptive skills and received better care
- patterns of dependency that characterised institutionalisation can be inadvertently recreated in programs in community settings
Contemporary community experiences
(included as excluded)
- double-bind of marginalisation, experiencing exclusion from and abjection and discrimination within the social space
To address the consequences of these experiences
- restructure the way everyday domains of participation (work, home, community? are socially and spatially organised to address the need for:
- "safe havens" that can be hostile and unpredictable - help cope with everyday exclusion
- opportunities to assert identities and control of their situation
- develop relationships of collective support alongside strategies to improve community understanding
3. Learning & lifestyle centres for people with intellectual disabilities: conceptualising the promotion of feeling "in place"
Recognition
- participation
- agency
- self esteem
- social identity
- respect
A framework for design judgement in enhancing inclusion and participation
Universal design:
- body fit - wellness
- comfort -social integration
- awareness - personalization
- understanding - cultural appropriateness
Recognition:- identification - understanding and awareness of what is happening
- oneself - awareness and practice of agency
- mutual recognition - appreciation, respect
Designing for recognition 1
- a space that enables people at the centre to see, understand and identify an activity
- a digital music activity that was arranged and organised to give opportunity for experimentation
- a digital painting activity that allowed people to exposure to the painting environment and opportunity to experiment informally
Designing for recognition 2
- recognising oneself in an activity- understanding difference between self and other, assigning actions to ourselves and others and taking responsibility for them
- a self sense of deliberate agency, social identity
Designing for recognition 3
- refer to the recognition of oneself by others, and is another key condition under which we develop and enact a sense of agency, of being understood and experience self-confidence, self respect, and social esteem
WEEK SEVEN
Photo credit: Naphat Jorjee
"The design process is essentially a process of subtraction, organisation and emphasis" - Leon Paternoster
The role of the interior design in the design process
Day in the life of an interior designer:
- 3/5 projects going on at any time
- ideation
- research
- documentation
- checking documentation
- using design process every single day
Client engagement:
- engage with client to discuss project
- client brief - often verbal
- discuss scope
- determine goals
- establish timeline
- budget guide
Conceptual - schematic design:
- research - history, site, case studies, SWOT
- prepare return brief
- mission statement of project
- outlines stages
- outlines role of designer in project
- outlines possibilities and limitations
Design Development:
- develop detailed design
- create detailed final concept including:
- plans
- sections/elevations
- revised budget
-present detailed design to client - the sell
- presentation documents
- materials board
- obtain client sign-off of final design and budget
Construction Documentation:
- create detailed technical drawings and specifications, to Aust. standards
- coordinate special consultants
- create FF&E schedule
- coordinate tender process
- consider permits required
- prepare contractor documents where needed
Tendering:
- send completed construction drawings to at least 3 companies for pricing
- re-selection of materials maybe required - $
- redesign of floor plan maybe required - $
- all document changes must be noted
- reissue drawings for further pricing
Construction phase:
- regular site visits
- ensure all materials and products are supplied to specs
- designers must be flexible
- substitutions maybe required
- all changes made must be document
Post construction - occupancy phase:
- prepare defects list
- coordinate builder/contractor to repair defects
- review defects list again
- client, designer and builder sign-off at end of project
- conduct post-occupancy evaluation
- records must be retained and archived by designer in case of any future issues
Movement of the design process:
Client engagement:
→ conceptual → design development → construction → defects → sign off
Expected:
→ planning → designing → creating → evaluating → deciding → implementing
Typical:
research → planning → designing → creating → evaluating → testing ideas → planning → designing → creating → evaluating → deciding → implementing
Site visit to the Endeavour Foundation Learning and Lifestyle in Geebung
A site visit to the Endeavour foundation located at Geebung, was conducted for a further understanding in sensorial design. One of the staffs at the centre provided a tour around the facilities, showing the different rooms available and talked about the different activities organise within the space. The current rooms available are; kitchen, office, bathroom, dining/chill area and an open area for core activities and as well as, an old sensorial garden. Because of the structure and small area of the building, the centre cannot accommodate other activities and therefore has to travel to another centre to do this. The worker also mentioned that the building being a high maintenance, due to the site being an old church prior to its renovation. Throughout the tour, he talked about the pros and cons of the building. One of the cons is the high level of noise, as the centre is situated right next to the train station. Another factor that contributes to the noise level is the open space of the floor plan, which does not have any separate rooms. It is difficult to control the noise level when different activities are planned at the same time which especially affects a concentration-based activity. Also, because of the open space and lack of rooms there is no sense of privacy. In contrast, one of the pros of the building is that, having timber flooring is helpful when cleaning the space. In addition, though the open space is a con it is also a pro, as the building has five emergencies exit throughout which are easily accessible in case of emergencies. Visiting the centre allowed me to explore and understand the requirements and considerations required when designing a learning centre.
*not all rooms where pictured due to the privacy of the clients*
SWOT Analysis of user group experience
WEEK EIGHT
Design process = problem solving
- Multiple elements outline recently
Creative process – part of design process
- Research the clients, space, requirement, time and political and social
- then commence the creative process
Creative thinking
- imaginative
- generates many possible solutions
- divergent – depart/separate from each other - independent distinct element
- lateral – “outside the box”
Design Process
Creative process – consider everything
Creative thinking
- Embrace silly
-Place no restrictions on this part of the design
- “judgement will interfere with the process”
How?
Key components:
- Just start – stop overthinking
- Brain storming
- Keep a visual diary
- Use design elements and principles
- Ideation – drawing/sketching/colour/texture
- Model making – using your hand
- Fail and make mistakes
Consider the 5 W’s:
- What – what am I doing this for, what is this space, what am I trying to createWhere – where am I doing this, where in time am, I doing this (consider geography)
- Why – why has the client asked me to do this, why am I involved in this particular process, why is the outcome not working
- Who – who is this for, who is the ultimate customer (eg, café – café cutomers)
- When – when is this required, when do I need to do it, when is the time frame/period (1920 art deco, 1950 modernist)
Design principles and elements
Design Elements:
Line
- Creating lines using room furnishings structures can form harmony, unity and contrast
Shape
- Natural shapes – naturally occurring objects (flowers, mountains, clouds etc.) – creates natural feeling in a space
- Geometric shapes – contain proper area and size, they can be easily provided and easily design (squares, rectangles, triangles etc.)
- Non-objective shapes - man-made created artificially by colors, random edges and lines etc.
Form
- The shape of the room and the object
- Relates to any form that is three dimensional
- Can be usually described as geometric or natural
- Geometric – hard lines and square edges often looking man-made
- Natural – organic shapes and seemed to be created by nature can create harmony and balance
Colour
- Ability to create mood
- Can evoke memories and stimulate emotions
- Can evoke memories and stimulate emotions
- Red – entice appetite (used in kitchen)
- Blue/green – entice calmness (used in bedroom)
- Consider the activity in the room
- Consider the natural lighting as it can affect the colour in the room
Design Principles:
Texture
- Has the ability to add interest and detail – visual pleasing to the eye
- Refers to the tactile surface of a finish or object- It comes in two forms: visual texture and actual texture
Visual texture:
-refers to texture as it is perceived by the eye
- found in the form of pattern
Actual/tactile texture
- can be seen or felt and has 3D characteristics
- eg. Fluffy colourful cushion
Space
- Dimension: length, width and height
- Usually cannot be change
- Can be split into two categories
Positive - space containing object
Negative - open or empty space
- Required for traffic paths
- Darkness or lightness of an object or element
- Depth and perception
Value/Tone
- Darkness or lightness of an object or element
- Darkness or lightness of an object or element
- Depth and perception
Pattern
- Repeated elements (shapes, lines, colours)
Contrast
- Juxtaposition of different elements
Emphasis
- Attention given to one element in design
Balance
- Symmetrical or asymmetrical placement
Proportion/Scale
- Relationship between objects with respect to size, number etc.
Harmony
- Arrangement gives the impression of parts of a whole design
Rhythm/Movement
- Recurring elements directs to the eye to move through a space
WEEK NINE
Why do we have building/development regulations?
- community expectations wants consistency and certainty
- consistent minimum safe level of design and construction
- regulate and control development in QLD
- In QLD development and building is controlled by 2 pieces of Legislation:
- the sustainable planning act 2009
- the building act 1975
- provisions and standards of BCA became parts of the building law in QLD
Regulation
- structural efficiency
Planning
- the sustainable planning act requires local authorities to develop planning schemes which comply with the act
- the planning scheme for Brisbane is the Brisbane city plan 2012
What is development?
five categories of development:
- exempt development
- self assessable developement
- development requiring compliance assessment
- assessable development
- prohibited development
Development is:
- carrying out:
- building work
- plumbing or drainage work
- operational work
- re-configuring a lot
- making a material change of use of premises
- REF: SPA section 7 meaning of "development"
- can be either:
- exempt development
- self assessable development
- code assessable development:
- preparation of documents designed to a set of technical code
- lodging applications for development approval on behalf of their client
- need to know when various types of development approval are required
What is building work?
- building, rearing , altering,underpinning, moving or demolishing
who applies for approval?
• Application Forms; • Supporting documents • Design Documents; • Reports • Certificates of design • Etc
Return Brief
Ideation
Model Photos
FF&E Schedule
