Observing the behaviour of occupants of different types of interior space and an introspection of ourselves in relation to each space.
One hour in each space.
The need to develop an awareness through graphics of the “Form of Space” as an element vital in itself.
A whole series of perceptual overlays – Architectural space. Day/night; seasonal cycles; Light/Dark; Moon; Artificial light; Warm/Cold; pressure.
Much of our understanding of environment is experienced through the sense of touch/ TACTILE/ yet we are not aware of it very much. A little awareness will help.
The primary aim of this exercise is to experience tactile sensations and be able to use it in spatial design.
Our bodily contact with the edges of space is central to our awareness of ourselves and spatial location.
As designers of environment, we should base future man made spaces upon some understanding of its contribution to the experience of others.
Visual as well as kinaesthetic space.
(Compile a tactile space diary in a sequence based upon a consciously experienced chain of touch sensations within one room).
The scale of gradations between light and dark. Values are used to help identify volumes in space. The disposition of volumes embodies both the gestural characteristics derived from the object and the objects basic geometric form.
Local Values – Values as they appear.
Reverse Values
Values through Hatching
The simplest and earliest method of drawing was “Delineation”. Its most pure form is the Contour Line.
This is the line demarcating of “What is” and “What is not”. It is a boundary between what is perceived – seen – called. The positive shapes, and the space surrounding the perceived object called the “Negative shape”.
The contour line is a deceptively difficult line to draw well and a well drawn contour line rests upon sensitive and detailed persuasive information.
It is a line which has not only to express the edges of the figure but also suggest what conceals behind it.