Aug.10 1st Sem DGN Teaching Programme

GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN

ARCHITECTURAL DESIGN I 2010 – 2011TEACHING PROGRAMME

S.No. ASSIGNMENT DATE/ DAY_ Mon/ Thu1 INTRODUCTION 09.aug.102 FREE HAND SKETCHING 12.aug.103 COLLAGE 19.aug.10

SEAL DESIGN4 COMPOSITION ON PATTERN_ OAT FLOORING 23.aug.105 POTENTIAL OF A LINE 04.sep.106 LINE TRIANGLE 13.sep.107 MONO CHROMATIC MONO SHAPE_ TRIANGLE 16.sep.108 LINE RECTANGLE 27/ 30.sep.109 MONO CHROMATIC MONO SHAPE_ RECTANGLE 04//07.10.10

10 MONO CHROMATIC MONO SHAPE_ SQUARE 11/14.10.1011 LINE CIRCLE 18/21.10.1012 MONO CHROMATIC MONO SHAPE_ CIRCLE 25/28.10.1013 MONO CHROMATIC MULTI SHAPE_ COMPOSITION 08/11.11.1014 MULTI CHROMATIC MULTI SHAPE_ COMPOSITION 15/18.11.1015 COMPOSITION OF TEXTURES 22/25.11.1016 COMPOSITION ON EMPHASIS_ MURAL DESIGN 22/25.11.1017 COMPOSITION USING RHYTHM_ BOUNDARY WALL DESIGN 29.11.10/02.12.1018 COMPOSITION USING REPETITION_ JAALI DESIGN for Partition 29.11.10/02.12.1019 FUNCTIONAL COMPOSITION_ BOOK COVER DESIGN

GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN, SONIPATARCHITECTURAL DESIGN I 2010 - 2011

09.08.10INTRODUCTION

GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN, SONIPATARCHITECTURAL DESIGN I 2010 – 2011

DESIGN ASSIGNMENT NO.112.08.10

FREE HAND SKETCHING


DESIGN ASSIGNMENT NO.219.aug.10

COLLAGE: visual composition

Two-dimensional visual design is a process of composing elements of basic visual design under the guidelines of the principles of basic design. The intention of these compositions is to produce a visually pleasing arrangement of lines, colors and visual textures with an under lying theme. The composition thus becomes a mode of communication in an aesthetic manner.

Generally in a composition the designer uses design elements in their various forms to make a statement. However, it is equally important for a designer to appreciate the joining together of colors, shapes and textures already available in a designed composition. The design constraints, here, are more in establishing a theme and then choosing the appropriate illustrations to communicate the theme or idea in an artistic manner. Alternatively, the illustrations available may suggest the under lying theme. Either way the theme is of prime importance here. Once the theme and the illustrations are matched, the principles of composition can start playing their role in the design of the composition.

The intention of this exercise is to develop the inherent capability of observing and relating visuals with an idea. The requirement here is to select from a given set of illustrations those pictures which can form a part of the statement the designer wishes to make. The project thus helps in developing the power of observation and analysis of visuals which is one of the more essential quality of a designer of visual compositions.

The problem

Take an A 3 size sheet make the standard border and seal. Go carefully through the news papers(4) you have. Look at the pictures carefully. Think of an idea or theme which can be represented by the

pictures available. Cut out the appropriate pictures (without using any instrument) keeping

in mind the space available on your sheet. Compose the pictures such that the composition makes a

statement for the viewer.

There are no limitations to the number of pictures, or the shape of the pictures.

Besides pictures single words or letters can also be used for highlighting the idea, but these should be used very sparingly.

The constraint is just that the composition should be pleasing to the eye and should make a statement to the viewer.

Roughly arrange the pictures and show the composition to the teacher and get the composition approved before pasting the pictures.


DESIGN PROBLEM NO.323.aug.10

PATTERN DESIGN (2D)

What is Pattern? A pattern is made by the arrangement of many unit designs; So, to get a pattern one has to make a design first and then arrange that unit design in the combination of many. There is also need of understanding the concept of spaces, the filled spaces and blank spaces i.e. the positive spaces the negative spaces respectively.

In the actual fabrication of the design there will be a number of constraints like the material and construction issues but at this stage it is expected that the major effort will be made in the aesthetic component.

The problem

Take a A3 size size sheet draw the regular borders and seal. On the remaining sheet leave the margin of 1cm on all sides. Take remaining size as the size of BLACK paper. On this Black sheet draw a pattern based on your design

unit. You are required to make an aesthetically pleasing pattern.

Try a few rough patterns based on the unit design. Feel free to experiment just keeping in mind the fact that the design will be seen on a surface that is horizontal.


DESIGN ASSIGNMENT NO.4

04.sep.10POTENTIAL OF A LINE

Architecture in its final manifestation is a visual art as, in its essence, it deals with the creation and placing of objects in space to make space usable. The design of any object, in its turn, entails organization of some mass. The object while made up of some material is seen as a series of planes which have some dimensions and some surface qualities. Planes are, by themselves, visually recognized or defined by their edges. These edges are in the form of lines. Thus lines form one of the basic elements of visual design. Of course, the line is made up of points, but these are not emphatic in a general visual and the line may be taken as a starting point for the understanding of the visuals of the objects we create and see.

The line when seen by itself displays a tremendous versatility. A line can be straight or it can be curved. Straight lines can have varying dimensions and directions and curved lines have even greater play than straight lines. Lines in conjunction with other lines create planes or multiple lines can be placed together to form interesting visual compositions. A composition of lines can be a source of not only visual delight, it can also convey some emotions.

While a line by itself can convey an emotion like a horizontal line suggests stability, a jagged line suggests anger, a composition of lines can help in emphasizing this emotion. Other issues like the principles of design start playing a role. At this stage the emphasis will, however, be on just intuitive visual delight.

The intention of this exercise is to create an appreciation of the potential of the very basic element of visual design. This appreciation will further lead to the appreciation of the versatility of architecture as a whole.

The Problem

Take a A 3 size size sheet draw the regular borders and seal.

Divide the remaining sheet in six equal parts. In each of these compartments, draw free hand lines to

represent an emotion. Title the composition with the name of the emotion in that

compartment.

There are no limitations to the composition or the number of lines or anything else.

This exercise requires that you first think about an emotion, ponder over the different facets of that emotion and then from your own basic sense draw freehand lines which to you symbolize that emotion or some of its facets.

Try drawing a few lines on a rough sheet of paper to get the feel of lines and their effect before deciding the final composition.

Feel absolutely free to express your ideas. If you have given deep thought to your idea and the

composition, you cannot go wrong.


DESIGN ASSIGNMENT NO.513/16.sep.10

PLAY OF LINE TRIANGLES

The simplest form of an enclosure is created when three lines are joined together. This composition, addressed as triangle is the basic geometrical form which is suggestive of enclosed space on a two-dimensional format. Triangles are differentiated on the basis of the relationship of the dimensions or proportions of the three sides or the lines which make up the triangle. Triangles made up of all three equal sides are known as equilateral triangles; with two equal sides are known as isosceles triangles and the ones with all unequal sides are known as scalar triangles. The relationship of the sides is also represented in the enclosed angles within the triangles. An equilateral triangle, thus has all angles equal, an isosceles triangle has two internal angles equal and a scalar triangle has no internal angle equal.The geometry of a triangle because of the three constituent lines and a focal point (the center of gravity, if the triangle was presumed to be solid) within it has invisible lines which pass through the focal point and the mid points of the lines and which pass through the focal point and the three vertices (intersections of lines). These six radiating, invisible lines and the edges of the triangles form the guiding lines on which the triangles can be related to one another if there were more than two triangles to be placed next to one another.The placement of the triangles next to one another to form a ‘composition’ will be guided not only by these six lines but also the positioning of the third triangle next to the first two, the total space available for the composition and the thread which ties up all the triangles.

The Problem

Take a A3 size sheet draw the regular borders and seal. Divide the remaining sheet in four equal parts. In each of these compartments, draw triangles to create a

visually exciting composition. In the first quadrant use only equilateral triangles, in the next use only isosceles triangles, in the next use scalar triangles and in the last use a combination of all these types of triangles. You can use a maximum of twelve triangles in a

composition. Title the composition with the name of the triangle type used

in the compartment.

There are no limitations to the sizes of the triangles; You can choose equal triangles or these can be of different sizes.

These can be placed on an edge alignment, a vertices alignment or an axial alignment.

Look at the space available, try to sketch a few rough arrangements of triangles on a rough sheet of paper before finalizing the arrangement that you find most fascinating before finally drafting it.

Feel absolutely free to express your ideas. Try using different composing methods for different

compartments. If you have given deep thought to your idea and the



DESIGN PROBLEM NO.627/30. 09.10

MONOCHROMATIC MONO-SHAPE (TRIANGLES) COMPOSITION

A visual scene, in reality, is made up of many objects. These objects make a visual impact that is actually created by the seeing of surfaces which have some shape, color and some textural quality. The further understanding of the object is more a matter of perception than of what is being seen. Objects are also generally not seen in isolation but are seen as combinations. Thus a visual frame is a composition of many planes which have different sizes, shapes and surface qualities. A designer involved in the area of visual design needs to understand and appreciate the complexities of creating a composition that pleases the eye besides meeting other constraints of design.

In the series of exercises for the development of the capability of appreciating visual impressions, this project will help in the appreciation of ‘solid’ simple shapes when these are placed next to one another in a given frame. The earlier exercises of using lines to create shapes and composing these ‘hollow’ shapes in a given space and the creation of a collage were an exposure to some of the basic facets of visual design. As pointed out earlier surfaces are seen as ‘solids’ because of their color and texture. To make the process simple to understand only one of the issues that make a visual impact will be taken in this exercise. This exercise will also help in appreciating shapes when the compositions created in this exercise are compared with the compositions of triangles made up just by lines.

The shapes in this exercise are quite emphatic visually because of their visual weight. Care should therefore be taken to give individual identity to each composition and some kind of visual

relationship between all of the compositions as these will be seen simultaneously.

The Assignment

From a black cartridge sheet cut the following shapes: 18 equilateral triangles of side 4.5 cms. 18 isosceles triangles of base 2 cms. And height 5 cms. 18 scalar triangles of sides 6, 5 and 4 cms.

On a A 3 size sheet draw the normal border and seal. Divide the remaining space in four equal parts by a

horizontal and a vertical division. Make a composition of equilateral triangles in the upper left

quadrant using a maximum of eight triangles. In the upper right quadrant make a composition of isosceles

triangles using a maximum of eight triangles. In the lower left quadrant make a composition of scalar

triangles using a maximum of eight triangles. In the lower right quadrant make a composition of mixed

triangles using a maximum of eight triangles.


DESIGN PROBLEM NO.706/ 09.oct.10

COMPOSITION OF LINE RECTANGLES

After having seen the possibilities of composing triangles let us now probe at another basic geometric shape – the rectangle. This shape in its inherent geometry has four visible edges and corners. It also has a hidden focal point – its center of gravity if the shape is seen as a plane. Hidden rays pass through the focal point and the corners and the midpoints of each side in the form of ‘axis’ of this shape.

The rectangle to be called a rectangle can have any proportions for its length and breadth. Some proportions, like the golden ratio, however, generate better ‘looking’ rectangles. As the intent of creating a composition is to communicate ‘beauty’, the rectangles chosen for the composition must be suitably proportioned.

The arrangement of various rectangles in a given frame can be based on numerous relationships. These relationships, must however, be related to the inherent quality of the shape. Hence for rectangles the relationships of one with the other can be based on an edge relationship, a corner alignment or an axial relationship. The rectangles in a composition may be of the same size or may vary in sizes. In the case of rectangles of varying sizes there has to be a proportional relationship between the rectangles chosen for the composition i.e. the composition will be better if the increase in the sizes is a constant factor. Besides the possibility of rectangles being placed next to one another on a system, there is the possibility of placing rectangles within rectangles. Here, too, the relationship should be based on some kind of a principled relationship. There is also the possibility of

combining the various possibilities to create interesting compositions using only rectangles on the format of line drawings.

The Assignment

On an A 3 size sheet draw the regular borders and seal. Divide the remaining sheet in four equal parts. In each of these compartments, draw rectangles to create a

visually exciting composition. In the first quadrant use rectangles separate from each

other but parallel to each other. In the next you may overlap the rectangles of different

sizes but still parallel to each other, in the next use a diagonal relationship and in the last use a combination of all these types of

composition principles. You can use a maximum of twelve rectangles in a

composition. Title the composition with the name of the principle of

relationship type used in the compartment. There are no limitations to the sizes of the rectangles. You

can choose equal rectangles or these can be of different sizes.

These can be placed on an edge alignment, a corner alignment or an axial alignment.

Look at the space available, try to sketch a few rough arrangements of rectangles on a rough sheet of paper before finalizing the arrangement that you find most fascinating before finally drawing it using your drawing equipment.

Feel absolutely free to express your ideas. Try using different composing methods for different

compartments. If you have given deep thought to your idea and the



DESIGN PROBLEM NO.813/ 16.oct.10

MONOCHROMATIC MONO-SHAPE ( RECTANGLES ) COMPOSITION

The previous exercises of triangles, collage and ‘hollow’ rectangles would have explained the basic tenets of a ‘composition’. To continue with the development of the understanding of basic geometric forms this exercise will deal with ‘solid’ rectangles. It is important to appreciate the difference between forms generated by lines and forms which have a much greater impact because of their ‘body’. At this stage of observing forms it will be realized that color and texture play an equally important role to the one played by the form itself. Solid filled in shapes have a stronger visual impact and it is easier to recognize shapes from even a distance which is often not possible when the shape is presented in just its outline.

A major difference between line forms and filled forms is also noticeable in the case of overlapping forms. In a monochromatic composition overlapping forms will generate altogether new forms very often quite different from the original shape. This fact will be noticed when one of the overlapping line composition is repeated with solid forms and the two compositions are seen simultaneously.

The Assignment

Keep in mind the fact that you have a A 3 sized sheet to work on you can use a maximum of 12 rectangles in a composition you have to make four compositions.

In one of the quadrants you must compose the rectangles of the size that you drew for the overlapping composition in the previous exercise of line rectangles. This is necessary to appreciate the difference between overlapping line and filled forms in a composition.

On an A 3 size sheet draw the normal border and seal. Divide the remaining space in four equal parts by a horizontal and a vertical division. Make compositions of rectangles on the same principles as in the case of line forms.


DESIGN PROBLEM NO. 7

COMPOSITION OF LINE CIRCLES

Circles as a geometric form have different properties than those of triangles and rectangles. This form does not have any edges but an invisible point and a continuous line around it. The point is the center and the line is the circumference bound to each other with a distinct geometry. This form thus has multiple radial lines of reference passing through the center. In a composition, however, the placement of two circles generates a connecting line between the two centers. This connecting line then forms a reference for the placement of the third circular shape in the composition. The composition can be thus continued with the hidden joining geometry of the shape created by the centers. The composition is also effected by the size of the circles other than the placement of these circles. The sizes could be of equal size or of differing sizes increasing or decreasing in size as the eye moves over the composition. Both these compositions are going to produce differing visual results.

Circles have another unique property. These are fluid shapes associated with movement. A dynamic composition is generally an outcome of using circles in a visual two-dimension composition. This property creates a visual excitement and must be a serious point of consideration in the making of a composition.

The Problem

On an A 3 size sheet draw the regular borders and seal. Divide the remaining sheet in four equal parts. In each of these compartments, draw circles to create a visually exciting composition. In the first quadrant use circles of the same size separate from each other but aligned by a theme. In the next you may overlap the circles of equal size but still the relationship of the circles must have a theme. In the next quadrant you can place circles of varying sizes separated from each other. In the last quadrant use a combination of all these types keeping in mind the general principles of composition. You can use a maximum of twelve circles in a

composition. Title the composition with the name of the principle of relationship type used in the compartment.

There are no limitations to the sizes of the circles. These can be placed such that the hidden lines joining their centers are a shape by itself or forms a fluid line. Try a few rough arrangements of circles on your system (at least 4) before finalizing the arrangement that you find most fascinating before finally freezing it for printing. Feel absolutely free to express your ideas. Try using different composing methods for different compartments. If you have given deep thought to your idea and the composition, you cannot go wrong.

GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN, SONIPAT

ARCHITECTURAL DESIGN I 2008 - 2009DESIGN PROBLEM NO. 8

MONOCHROMATIC MONO-SHAPE ( CIRCLES ) COMPOSITION

The previous exercises would have explained the basic tenets of a visual ‘composition’ and the difference between the visual impact of ‘hollow’ and ‘solid’ shapes. To continue with the development of the understanding of basic geometric forms this exercise will deal with ‘solid’ circles. It is important to appreciate the difference between forms generated by lines and forms which have a much greater impact because of their ‘body’. At this stage of observing forms it will be realized that color and texture play an equally important role to the one played by the form itself. Solid filled in shapes have a stronger visual impact and it is easier to recognize shapes from even a distance which is often not possible when the shape is presented in just its outline.

A major difference between line forms and filled forms is also noticeable in the case of overlapping forms. In a monochromatic composition overlapping forms will generate altogether new forms very often quite different from the original shape. This fact will be noticed when one of the overlapping line composition is repeated with solid forms and the two compositions are seen simultaneously. In the case of circles, overlapping forms in solid circles will create diversely different looking forms as compared to the ones created by using of the same circles in the same position in a hollow form.

The Problem

On an A 3 size sheet format draw the regular borders and seal. Divide the remaining sheet in four equal parts. In each of these compartments, draw circles to create a visually exciting composition. In the first quadrant use circles of the same size separate from each other but aligned by a theme such that the line joining the centers forms a distinct fluid line/s. In the next you may overlap the circles of equal size but still the relationship of the circles must have a theme. In the next quadrant you can place circles of

varying sizes separated from each other. In the last quadrant you must cut and paste the circles of the size that you drew for the overlapping composition in the previous exercise of line circles. This is necessary to appreciate the difference between overlapping line and filled forms in a composition.

There are no limitations to the sizes of the circles. These can be placed such that the hidden lines joining their centers are a shape by itself or forms a fluid line. Try to sketch a few rough arrangements of circles on a rough sheet of paper before finalizing the arrangement that you find most fascinating before finally drawing it using your drawing equipment. Feel absolutely free to express your ideas. Try using different composing methods for different compartments. If you have given deep thought to your idea and the composition, you cannot go wrong.



MONOCHROMATIC MULTI-SHAPE COMPOSITION

After having seen the behavior and properties of the different pure shapes, it will be worthwhile to see their behavior when these are placed in conjunction with each other. Our visual world is made up of many complex forms having varying surfaces, masses and seen under differing lighting conditions. For a designer it is important to understand the complexity of composing differing shapes within the same visual frame.

The visual relationship of shapes of the same kind placed next to one another is governed by the hidden line of their geometry and the edges of the shapes. The relationship of unlike shapes placed next to one another becomes more complicated because of the mismatch of the edges. In such compositions it becomes necessary that a subtle relationship be established between the shapes such that the whole composition follows an underlying theme. The theme could be of symmetry or asymmetrical balance, rhythmic repetition, with a center emphasis or any such idea. The composition will generally not be beautiful if it is not based on a theme or an explainable idea.

When monochromatic shapes are used specially in contrast to the background, the background also forms a pattern. This pattern must also be kept in mind when the composition is being created.

Your eye and your aesthetic perceptions will be an excellent judge in helping you decide the best composition. Still it may help if you were to try some rough sketches on the full scale, with reasoning for the arrangement and take comments of the teacher before cutting and pasting the shapes on your final sheet.

The Problem

On a A 3 size sheet draw the regular borders and seal. Divide the remaining sheet in four equal parts. In each of these compartments, compose the shapes to create a visually exciting composition. In the first quadrant use shapes of the same size separate from each other but aligned by a theme. In the next you may overlap the shapes of equal size or place them adjacent to each other but still the relationship must have a theme. In the next quadrant you can place shapes of varying sizes separated from each other. In the last quadrant you may cut and paste the shapes of the different sizes such that the shapes are touching or overlapping one another.

There are no limitations to the sizes of the shapes. Try to sketch a few rough compositions on a rough sheet of paper before finalizing the arrangement that you find most fascinating before finally using it as a final scheme. Feel absolutely free to express your ideas. Try using different composing methods for different compartments. If you have given deep thought to your idea and the composition, you cannot go wrong.



MULTI-CHROMATIC MULTI-SHAPE COMPOSITION

The world that we see is made up of objects which have varied hues and colors. This surface quality is the major source of creating the quality of expression of the object. This quality, besides other qualities of mass, form and textURE AND DESIGN, also helps in identifying the object. Thus, color plays an important part in our lives and needs to be studied for it to be used as a design element. There are many facets to the study and application of color in the design of objects. We shall however look at color in its elemental form.

Colors can be in a combination of harmony or contrast, soothing or exciting and in various other such combinations. As the first exercise in the use of colors, only three strikingly different colors are being used to understand the effect of color and form in different compositions.

In this exercise besides the complexity of composing shapes of different kinds with their varied geometry there is an added complexity of different colors. The compositions will have to be made keeping in mind the visual impact of keeping different shapes of different colors next to one another and the total visual impact of the composition. The earlier used principles of design must be used with an added care of creating a visual balance of colors. It must also be remembered that not only should each composition look beautiful, all the four compositions which will be seen together, make a picture of visual delight.

The Problem

On an A 3 size sheet draw the regular borders and seal. Divide the remaining sheet in four equal parts. In each of these compartments, compose the cut pieces to create a visually exciting composition. In the first quadrant use pieces of the same size separate from each other but aligned

by a theme. In the next you may overlap the shapes of equal size or place them adjacent to each other but still the relationship must have a theme. In the next quadrant you can place shapes of varying sizes separated from each other. In the last quadrant you may cut and paste the shapes of the different sizes such that the shapes are touching or overlapping one another.

There are no limitations to the sizes of the shapes. Try few rough compositions (at least 4) before finalizing the arrangement that you find most fascinating before finally using it as a final scheme. Feel absolutely free to express your ideas. Try using different composing methods for different compartments. If you have given deep thought to your idea and the composition, you cannot go wrong.



COMPOSITION OF TEXTURES

All objects that we see are identified by their surface qualities besides their mass and form. Surface qualities comprise the two aspects of color and texture. While color plays an important role in the perception of objects, textural qualities play an important role when the object is viewed from close or in detail. The human eye is, however, capable of distinguishing the general ‘feel’ of texture even from a distance.

Texture is usually an inherent quality of a surface. Textures could be smooth, rough, hard, soft, even, haphazard and the like. The physicality of the textures is observable only through the tactile senses, but textures are also ‘felt’ by the visual senses. The observer can ascertain the quality of the surface just by looking at it and need not necessarily touch it to know whether it is rough or smooth.

As this quality is inherent in the material which is selected for the design of an object and this quality effects the final appearance of the designed object, it is important for a designer to keep this in mind at the time of designing. This quality also influences the total expression of a visual composition and must therefore be used under the same principles of composition as other design elements are used i.e. balance harmony and the like.

The Problem

You are required to create an aesthetically pleasing composition of surfaces having differing textures arranged in gradation of textures.

Collect various materials like sand, saw dust etc. or thin objects like fabric, corrugated sheet, etc. which can be stuck on a cartridge sheet. Keep in mind that these are of a color suitable to your theme of the composition.

The color should be in harmony or contrast depending on whether you want the final composition to be in harmony or contrast. If the objects are patterned, the same constraint will be applicable.

On a A 3 size size sheet draw the regular borders and seal. Place the selected material on the workable part of the sheet such that it forms a visually exciting composition. You must establish an underlying theme like a flow of rough to smooth textures or some other combination so that there is a theoretical explanation to the composition. Try various configurations and get the approval of the studio advisor before finally sticking the textures on the sheet.

Aug.10 1st Sem DGN Teaching Programme

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