SCHOOL OF ARCHITECTURE & LANDSCAPE DESIGN SHRI MATA VAISHNO DEVI UNIVERSITY SessionKATRA2021-22
By Dhairya Vivek Aggarwal
A Dissertation Submitted
In Partial Fulfillment of the Requirements for Award of Degree of BACHELOR OF ARCHITECTURE
VISUAL EXPRESSIONISM IN ARCHITECTURE THROUGH GRAPHIC DESIGN
18BAR010Gupta Guide Ar.
School of Architecture and Landscape Design
Dissertation:Architecture2021-22
Bachelor of
Dhairya Gupta
Shri Mata Vaishno Devi
Visual Expressionism in Architecture through GraphicDesign
18BAR010EntryUniversityNo.: i
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Guide : Ar. Vivek Aggarwal, Assistant Professor, SoALD SMVDU
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This is hereby certified that this Dissertation entitled Visual Expressionism in Architecture through Graphic Design, has been submitted by Dhairya Gupta, Entry No. 18BAR010 in the partial fulfillment of the requirements for the award of the degree of Bachelor of Architecture, Session2021-22.
CERTIFICATE
Accepted By: (Head -SoALD)
Recommended By: Ar. Vivek Aggarwal Ar. (Dr.) Sourovee (DissertationDuttaGuide) (Dissertation Coordinator)
Jury Members:
(1) (2) (3)
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Shri Mata Vaishno Devi University
No contents of this Dissertation have been copied from any other dissertation/thesis report in part or full. If at any stage it is found that this is significantly copied from any other resource, the evaluation of this report and accordingly grade award shall automatically stand canceled.
Dhairya Gupta
Entry No.: 18BAR010
School of Architecture & Landscape Design
(Signature of Student)
B. Arch., Session: 2021-22
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DECLARATION
This Dissertation, entitled Visual Expressionism in Architecture through Graphic Design is being submitted as a partial requirement of B. Arch. Study during ninth (9th) semester by me for evaluation. The contents in this Dissertation are either my own work or a compilation of data/information as gathered from case studies/surveys as indicated/referenced and permitted as per rules.
(Signature of Guide/Supervisor)
Name: Dhairya Gupta
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Plagiarism / Copied Contents: Not more than 10%
Date:
Originality / Uniqueness: More than 90% (Certificate attached as Annexure-1).
Name: Ar. Vivek Aggarwal
The originality of this Thesis has been checked using appropriate plagiarism checker / software and following parameters are compiled (tick one).
Counter-signedDate:
(Signature of Student)
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PREFACE
The field of Graphic Design has always captivated me as it provides freedom of expression and interpretation and creates a visual connection and communication. During the lockdown period of Covid-19, I tried to explore the dimensions of this field and wanted to put this aspect into my architectural dissertation and thesis. In the contemporary scenario, the architectural spaces entail telling a narrative, message, and purpose which can be fulfilled by Graphic Design which helped me in realizing that it can be used as a tool to enhance a building’s statement and escalate its presence by stimulating a dynamic dialogue between the person and the place.
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Kakryal, July....,2022
ACKNOWLEDGEMENT
I would firstly like to thank my guide Ar. Vivek Aggarwal for his unending efforts to realize and understand my topic of interest and for spending a great amount of time polishing and streamlining my thoughts. Also, I would like to thank Ar. Syed Ifrah, Ar. Abhiney Gupta and Ar. Vinod Kumar for showing interest in my topic and putting in valuable comments to enrich my Nothingwork.is possible without the cooperation of your loved ones so I would like to thank my parents, my family, and friends for showing true confidence in me at every level of the process and for keeping me motivated.
This dissertation has been a very crucial and wonderful experience for me. Right from the selection of the topic to the research, it was a rollercoaster ride but some pillars always supported my work and continuously pushed me and helped my dissertation to reach this level.
Dhairya Gupta
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TABLE OF CONTENTS 1.LISTTABLEABSTRACT................................................................................................................................1OFFIGURES...............................................................................................................3OFTABLES.....................................................................................................................4SYNOPSIS..............................................................................................................................5 1.1 INTRODUCTION.............................................................................................................5 1.2 NEED FOR THE STUDY 5 1.3 AIM....................................................................................................................................5 1.4 OBJECTIVES....................................................................................................................5 1.5 METHODOLOGY 6 1.6 SCOPE...............................................................................................................................6 1.7 LIMITATIONS..................................................................................................................6 2. LITERATURE STUDY........................................................................................................7 2.1 VISUAL EXPRESSIONISM IN ARCHITECTURE........................................................7 2.2 FACTORS AFFECTING THE DESIGN OF GRAPHICS IN ARCHITECTURAL SPACES 8 2.2.1 CONTEXT AND MEANING....................................................................................8 2.2.2 FUNCTION................................................................................................................9 2.2.3 SITE 12 2.2.4 MATERIALITY.......................................................................................................13 2.2.5 PRINCIPLE ATTRIBUTES.....................................................................................14 2.3 USE OF GRAPHIC DESIGN IN CONTEMPORARY BUILDINGS 22 2.4 EFFECTS OF GRAPHICS ON HUMAN PERCEPTION AND EXPERIENCE...........22 2.3.1 MEMORABILITY...................................................................................................22 2.3.2 DRAMATIZATION 22 2.3.3 ANIMATION...........................................................................................................22 2.3.4 COMPREHENSION................................................................................................23 3. CASE STUDIES AND ANALYSIS....................................................................................24 3.1 SELECTION....................................................................................................................24 3.2 CASE STUDIES..............................................................................................................24 3.2.1 CASE 01-GRiD, SINGAPORE. 24 3.2.2 CASE 02 - NEW TOWN SCHOOL, ...............................................................................................................................................KOLKATA...................................................32323.2.3CASE03-TESSALACECOMMERCIALOFFICESPACE,MOHALI.36xi
3.2.4 CASE 04 - FÁBRICA DE CULTURA SCHOOL OF ARTS AND POPULAR TRADITIONS BARRANQUILLA, COLOMBIA. 40 3.3 COMPARATIVE ANALYSIS OF CASE STUDIES.....................................................45 3.3.1 BASED ON THE FACTORS AFFECTING THE DESIGN OF GRAPHICS IN ARCHITECTURAL SPACES 45 3.3.2 BASED ON THE IMPACT OF GRAPHICS ON HUMANS..................................45 4. DESIGN RECOMMENDATIONS....................................................................................47 5. CONCLUSION....................................................................................................................48 6. REFERENCES.....................................................................................................................49 7. ANNEXURE.........................................................................................................................51 xii
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This dissertation is to explore various factors that affect the design of graphics in architectural spaces, as well as how graphic design plays an important role in the specification and identification of space, and how ordinary settings are transformed into places that carry a message and narrative.
The phenomenon of the increased and active use of Graphics in contemporary architectural spaces is a product of our time’s socio-cultural and technological advancements.
ABSTRACT
Figure 1: Representation of a Visual Narrative in an Architectural Space. Artist: Author
Keywords:GraphicDesign,Narrative,Visualidentity,SpatialImage Visual Expressionism in Architecture through Graphic Design
This study will help to understand how effective Graphics can change our perception of a given space when a human observes and integrates pictures, words, and ideas. Hence, graphics when designed and created provide certain effects and interpretations of that given space. The visual identification portrayed in Graphics serves as a visual mnemonic-inducer and helps in creating a spatial image for the users of the space, encouraging them to remember the intended space and its identity for a lengthy period.
B.Arch. Dissertation 2021-22
In the contemporary scenario, people seek various, organic, and versatile expressions of design and expect it to be presented in myriad dimensions resulting in aspects of graphic design widening limits and blending in with fields of architecture, art, and design.
B.Arch. Dissertation 2021-22 Dhairya Gupta |18BAR010 Page 2 Visual Expressionism in Architecture through Graphic Design
Figure 8 : Illustration showing the facade of Sint Lucas. Source: Book (Graphic Design for VisualDhairyaFigurearchdaily.comFigureFigureFigureFigureFigureFigureFigureFigurearchdaily.comFigurearchdaily.comFigureFigureFigureFigureFigureFigureFigureFigureDesignFigureforFigureFigureFigureFigureFigureFigureFigureFigureSource:FigureFigureFigureArchitects)..................................................................................................................................119:IllustrationshowingWayfindinginaspace.Source:Author...................................1110:ExamplesofGraphicsonspace-makingelements.Source:Author1211:IllustrationshowingthematerialityofgraphicsusedoutsideaLouisVuittonStore.Book(GraphicsforArchitects)1312:CapitolComplex,Chandigarh.Source:archdaily.com............................................1413:ArtesPart.Source:Taratiel.com.............................................................................1514:4X4Gridandpatternusedforamural.Source:Taratiel.com1615:GrandCentralStation,NewYork.Source:Book(ThinkingwithTYPE)..............1716:TheoryofTime,Goa.Source:collater.al1817:SKINPavilion,Lisbon.Source:archdaily.com.......................................................1918:InteriorofBMWmuseum,Munich,Germany.Source:archdaily.com...................2019:Illustrationshowinggraphicscreatinganillusion.Source:Book(GraphicDesignArchitects)............................................................................................................................2020:Illustrationshowingtheeffectofperspectiveonwalls.Source:Book(GraphicforArchitects)2121:InteriorsofLyon-SaintExuperyAirport.Source:grapheine.com...........................2122:Gridstandingoutasalandmark.Source:archdaily.com2423:SitePlan(DistrictMap).Source:archdaily.com......................................................2524:Beforeandafterimagesoftheretrofitting.Source:archdaily.com2525:GRiDcreatingIdentityforSelgieArtDistrict.Source:archdaily.com2626:BasementPlanbeforeGraphicalIntervention.Source:archdaily.com....................2627:BasementPlanafterGraphicalIntervention.Source:archdaily.com2728:Thepoorconnectionsanddeadspacesturnedintovibrantspaces.Source:.............................................................................................................................2729:Blow-upplanforwashroomareashowingplacemakingbeingdone.Source:.............................................................................................................................2830:Graphicsonthefloorforwayfindingandnavigation.Source:archdaily.com2931:InteriorviewofGrid.Source:archdaily.com..........................................................2932:GraphicalColumnsusedfornavigation.Source:archdaily.com.............................3033:Ceilingsareusedfornavigation.Source:archdaily.com3034:IllustrationsofSpace-makingElements.Source:Author........................................3135:ViewofNewTownSchool.Source:archdaily.com3236:Thebuildingissurroundedbysimilarstructures.Source:Author..........................3337:WallsofGraphicInterventionhighlightedonGroundFloorPlan.Source:3438:graphicalscreenofsymbols,alphabets,andnumbers.Source:archdaily.com........34Gupta|18BAR010Page3ExpressionisminArchitecturethroughGraphicDesign
Figure 6: Illustration showing the facade of Shipping and Transport College. Source: Book (Graphic Design for Architects) 9
Figure 2: Flow chart of Methodology. Source: Author 6
Figure 1: Representation of a Visual Narrative in an Architectural Space. Artist: Author 2
B.Arch. Dissertation 2021-22
Figure 7: HereAfter, London, England. Source: Craigan Karl.com.........................................10
Figure 4: Ceiling design of renaissance. Source: historicaleve.com 7
Figure 3: Egyptian Hieroglyphs. Source: historicaleve.com.......................................................7
Figure 5: Flow chart for the factors affecting the design of graphics. Source: Author...............8
TABLE OF FIGURES
Figure 49: Before and After pictures showing the transformation of community hub. Source: arch.ethz.ch 41
Figure 53: The attributes create a vibrant experience. Source: archdaily.com..........................44
Figure 42: Loss of identity in similar-looking buildings. Source: Author.................................37
Figure 50: Illustration showing the maker space. Source: archdaily.com.................................42
Table 4: Impact Analysis of Graphics for Case 04....................................................................44
Table 6: Comparative analysis of the impact of Graphics for all cases.....................................45
Table 3: Impact Analysis of Graphics for Case 03....................................................................40
Figure 45: Side and Front Elevation. Source: archdaily.com 38
Table 5: Comparative Analysis of Factors for all cases 45
Figure 47: Grid used in the tessellating pattern. Source: Author...............................................39
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Figure 39: Fixing detail of wall with FRP panel. Source: archdaily.com.................................35
Figure 52: Red color used for spiral staircase. Source: archdaily.com 43
Figure 48: The Public Square. Source: archdaily.com 40
Figure 40: Compositions arranged in a grid. Source: archdaily.com 35
Table 1: Impact Analysis of Graphics for Case 01....................................................................32
Figure 43: Tessalace standing out from its context. Source: youtube.in 37
Figure 51: Graphic interventions on walls, stairs, and floor. Source: archdaily.com................43
Table 2: Impact Analysis of Graphics for Case 02 36
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Figure 44: Graphical facade with life and expression. Source: archdaily.com.........................38
Figure 46: Exploded view showing the material used. Source: archdaily.com.........................39
Figure 41: View of Tessalace. Source: archdaily.com..............................................................36
LIST OF TABLES
The aim is to emphasize the significance of graphic design and its implementations in contemporary buildings with expressionist compositions which helps in achieving practical and visual comfort and perception of hidden parts of common and ordinary spaces.
1.3 AIM
1. To understand the factors affecting the design of graphics in an architectural space.
1.4 OBJECTIVES
B.Arch. Dissertation 2021-22
In today’s scenario, buildings are becoming increasingly complex to comprehend, absorb, navigate and meet needs. A strong spatial image study, which everyone can understand in these structures, which creates a pattern in terms of user diversity, will help a better understanding of the relationships between spaces and what spaces tell. For this reason and to reduce the increasingly modern spaces to human scale by surrounding them with images that everyone can understand. In this process, graphic design has become more and more involved with definitions such as architectural graphics, environmental graphic design, and wayfinding
1. SYNOPSIS
2. To study how graphic design act as a medium of expression in contemporary buildings.
Page 5 Visual Expressionism in Architecture through Graphic Design
Todesignenhance and strengthen a building’s expression and spatial image, effective and appropriate Architectural Graphic Design is required which acts as an instrument that develops a strong narration between the person and place by fostering an impactful feeling of place, fulfilling people’s needs, assisting users in finding their way, and communicating a building's narrative.
3. To analyze the effect of graphics on human perception and experience.
Perceptions based on place and visual elements are significant because they influence human behavior on the spot. An excellently crafted and created spatial image improves the perception of the surroundings and communicates a building’s function hence improving the human Spaceexperience.actsas
1.2 NEED FOR THE STUDY
4. To draw recommendations on the application of graphics in architectural spaces and Dhairyabuildings.Gupta|18BAR010
1.1 INTRODUCTION
an empty canvas which provides great opportunities to provide a remarkable appearance to it which will distinguish it from others leaving a more permanent image of the space in mind. If the space is attractive, it increases interest, and a person’s desire to stay in that space or place increases.
5. Derivation of design considerations through the study.
1.6 SCOPE
1.7 LIMITATIONS
1.5 METHODOLOGY
4. Analysis of case studies to understand the impact of graphics on human perception and experience.
Figure 2: Flow chart of Methodology. Source: Author
The study will talk about the use of graphic design in architectural space (environmental graphic design) and not in any print media form and has considered architectural scale and will focus on contemporary buildings and not on any building of historical context.
1. Selection of the topic.
2. Literature study to understand the factors affecting the design of graphics in architectural space.
The reach of the study is limited to contemporary buildings as in the contemporary scenario people seek various, organic, and versatile expressions of design and expect it to be presented in myriad dimensions resulting in aspects of graphic design widening limits and blending in with the field of architecture.
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6. Conclusion of the study
3. Case Studies to study how graphic design act as a medium of expression in contemporary buildings.
B.Arch. Dissertation 2021-22
Figure 4: Ceiling design of renaissance. Source: historicaleve.com
2.1 VISUAL EXPRESSIONISM IN ARCHITECTURE
2. LITERATURE STUDY
Visual Expressionism emphasizes a non-realistic representation of objects and events which is used to evoke emotion in users and viewers instead of focusing on realism.
For thousands of years, as a species, we have infused our buildings with expressions through language and imagery. To communicate stories and explain how to live and die, the Egyptians decorated their temples with murals and hieroglyphs.
The Olmec and Aztecs constructed massive cities and enormous pyramids and decorated the interiors with words and images. Western cultures constructed impressive cathedrals and used biblical narratives and stained glass and ceilings to tell stories(Sean Adams, 2018).
Figure 3: Egyptian Hieroglyphs. Source: historicaleve.com
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2.2 FACTORS AFFECTING THE DESIGN OF GRAPHICS IN ARCHITECTURAL SPACES
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Figure 5: Flow chart for the factors affecting the design of graphics. Source: Author
B.Arch. Dissertation 2021-22
Today, we continue to use expressions as words, symbols, images, and forms as a part of our built environment. It may not be telling the stories of Moses or Hathor but it can be used to bind communities, create space identity, add vibrancy and help users to find their way in a space and create a delightful experience.
Context is essential when designing environmental graphics or graphics for architectural spaces, as there is a need to be keenly sensitive to how the graphic may affect. It aids in determining how people will interpret the image and whether or not it will be significant to Athem.certain site or venue can have an intellectual or associative context, and the placement of a piece of graphic design can transform or emphasize its meaning; similarly, the design itself may shape or reflect the way the surrounding environment is read.
2.2.1 CONTEXT AND MEANING
Visual Expressionism in Architecture through Graphic Design
2.2.2 FUNCTION
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Figure 6: Illustration showing the facade of Shipping and Transport College. Source: Book (Graphic Design for Architects)
The graphic facade links the building form back to its location near the industrial port on the Maas River, making a robust volume an emblematic icon for the college by referring to the sculptural harbor architecture of silos, cranes, and walls of stacked shipping containers.
This vibrancy and variations can be attained by graphical interventions in space as it has the potential to transform abandoned, underutilized spaces into lived-in spaces where people love spending time.
Therefore, Graphic Design can be used as a tool in the process of Placemaking by which people can foster a sense of belongingness to the environment or spaces they are living in.
Graphic design for buildings and architectural spaces serves various functions which give an independent image and story to that given space or building.
Place-making is the process of creating vibrant places by combining numerous functions in a single location and streamlining vibrancy and variation in those functions.
Example – HERE AFTER in London, England
2.1.2.1PLACEMAKING
Example - Shipping and Transport College, Neutelings, Netherlands
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Unremarkable surroundings or buildings are given identity with the intervention of graphic design. A visual identity provided by graphics helps in giving more distinction, memorability, and connection with the space or building.
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Figure 7: HereAfter, London, England. Source: CraigandKarl.com
The designers Craig and Karl playfully revived a derelict petrol station. They have used public and visually appealing graphics in striped colors and forms found in the branding of major petrol companies that reinvents the site from fragments of the past and people feel visually connected to the place.
2.1.2.2IDENTITY
Through graphics, such as the installation of decorative screens, surface treatments, façade treatments, etc., a bold, vivid, and unusual new external identity can be achieved.
B.Arch. Dissertation 2021-22
2.1.2.3WAYFINDING
Wayfinding is the system by which we navigate and find out our way around familiar or unfamiliar spaces in a building or an environment. We navigate using visual cues, tactile information, signage, etc. which are attainable with the intervention of graphic design.
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Figure 8 : Illustration showing the facade of Sint Lucas. Source: Book (Graphic Design for Architects)
The existing unremarkable 1960s building was to be given a strong, external identity through the graphical facade of decorative screens, surface treatments, and signage. These features improve the outdoor spaces between the many existing buildings and convey the inner workings of a creative educational institution.
Figure 9 : Illustration showing Wayfinding in a space. Source: Author
Visual
Example – Sint Lucas, Art Academy, Boxtel, Netherlands
Page
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A site in a spatial context has a strong influence on the attribute of graphics that can be placed Itthere.relies
Therefore, graphics can become ancillary to understanding the site or spatial attributes by giving an expression to contextual, cultural, and regional conditioning.
2.2.3 SITE
B.Arch. Dissertation 2021-22
In his book, he also says that these elements hold potential for expression which influences space and its experience thereby orchestrating the perception of the built environment.
Figure 10: Examples of Graphics on space-making elements. Source: Author
on what existing surfaces or elements can serve as a base for the installation of graphics. The elements are broadly classifiable as roofs, walls, doors, windows, columns, stairs, and floors by Yatin Pandya in his book the elements of space-making.
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2.2.4 MATERIALITY
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The materials also help in giving an individual pattern to the space or building for not only catering to the aesthetics but also how easily or often it can be updated to provide new styles and identity.
Fifth Avenue is then branded with whatever pattern or graphics matches the current line of handbags by changing the material of the branding.
Figure 11: Illustration showing the materiality of graphics used outside a Louis Vuitton Store. Source: Book (Graphics for Architects)
The consideration of materials needs to be taken care of as it will be a supporting factor for the design and its durability.
Louis Vuitton Stores expand their brand from their luggage to their building facade. By supersizing their brand through an ever-changing group of artists and architects, Louis Vuitton also brands the street with the help of graphics where their stores are located.
Example: Louis Vuitton Stores
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Color is a powerful communicator. More than perhaps any other visual element, color can change the mood of the space, making it energetic, somber, playful, and so on. It can also help categorize, contextualize, highlight, or otherwise differentiate a space, or portions of space.
Figure 12: Capitol Complex, Chandigarh. Source: archdaily.com
2.2.5 PRINCIPLE ATTRIBUTES
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The first thing noticed and regarded as the spot is a characteristic that sets it apart from others. If the place is attractive and logical, it will increase interest, it will boost the desire of the person to stay in the place and the sense of place will deepen and more details will be noticed(Atamaz-Daut & Ergun, 2018).
It can act as a feature of structural or decorative components, articulate the elements that configure the spaces, and become one of their decorative aspects.
B.Arch. Dissertation 2021-22
When we think of a graphical image or representation in a space, it has certain attributes which give the image a remarkable appearance and will enable a quicker and more accurate assessment of the space, differentiating them from one another and giving them a longer-lasting memory.
2.2.5.1COLOR
A grid breaks spaces or elements into regular units. They establish a system of arrangement for geometric patterns, shapes, and objects to adjust within a space or element of the built environment.
Example 1: Art es Part, Barcelona, Spain
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USE OF TESELLATIONSHAPESGEOMETRICGRIDANDPATTERN
B.Arch. Dissertation 2021-22 2.2.5.2GRID
Figure 13: Art es Part. Source: Taratiel.com
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Figure14: Ravensbourne University, London. Source: Deezen.com
Figure 15: Elevation showing the tessellating pattern. Source: Deezen.com
Example: 2 Ravensbourne College of Design and Communication, London
Figure 14: 4X4 Grid and pattern used for a mural. Source: Taratiel.com
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Above is the example of a big mural developed at a school’s basketball court in Spain by artist Anna Taratiel who collaborated with school students to make this mural. They followed a fixed grid to make patterns.
Figure 15: Grand Central Station, New York. Source: Book (Thinking with TYPE)
Scale changes help in the creation of visual contrast, movement, and depth, as well as the expression of important hierarchies. (Ellen Lupton, 2010)
2.2.5.3SCALEANDHIERARCHY
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Scale refers to the design's size about other elements in a layout as well as the physical environment of the work.
A HIERARCHY expresses content arrangement by accentuating some and subordinating others.
A visual hierarchy assists viewers in scanning a graphic or text, determining where to enter and exit as well as how to pick and choose from its offerings.
By experimenting with the scale of letterforms and visuals, designers establish hierarchy and contrast.
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Ravensbourne College inhabits a building meticulously clad with 30,000 interlinked tiles in a tessellating pattern. The pattern of the tiles is determined by the size and positioning of window openings, while the size of windows depends on the corresponding interior function.
2.2.5.4LIGHT
Figure 16: Theory of Time, Goa. Source: collater.al
In Theory of Time, the actual enchantment happens during the daytime when the sun is high and the installation's shadow falls on the asphalt, revealing the writing, which includes brief
Ruedi Baur, a French architect, and graphic designer says that light not only has an aspect or function of showing or illumination but is also a way of staging to make the planned element of graphics in a space attractive.
Example 1: Theory of Time, Panjim, Goa
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INDIRECT
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The spatial experience is enhanced by architectural illumination and can affect a person's mood, connectivity, and spatial awareness to accentuate specific architectural aspects, provide closeness, induce excitement, and so on.
LIGHT DIRECT
Spatial Projections and Choreographies can be used to create a digital outlook for the graphics which helps in bringing atmospheric imagery into a space giving the feeling of mobility and dynamism.
statements such as “Timeworkswonders.Timemoves.Timefliesoverusbutleavesitsshadow behind.Timefades.Timeisanillusion.”
Example 2 – Skin Pavilion, Lisbon, Portugal
The Skin Pavilion in its foyer has used direct and LED lighting systems for the illumination of its perforated graphic wall.
Example: New BMW Museum, Munich, Germany
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2.2.5.5DIGITALREGISTRATION
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Figure 17: SKIN Pavilion, Lisbon. Source: archdaily.com
The virtual and augmented methods to showcase graphics create interconnected, interactive, smart, alternative, and responsive spaces that improve the user experience of buildings and have a wide range of future applications in architecture.
Indirect Light can be used for the surface that can be both luminous and the graphic or text must be able to capture the light better than the background.
Graphics can create an optical illusion with the help of perspective and visual parallax. A bright stripe could situate disparate pieces of architectural detritus (radiators, light switches, fire extinguishers) or develop new spatial constructions by playing with perspective. (LEWIS, Dhairya2015)
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The spatial projections and choreographies in the interior of the museum create an immersed flow of images, and visitors experience the space in a new way each time they pass through it, thus expanding its perceived dimensions even further.
Figure 19: Illustration showing graphics creating an illusion. Source: Book (Graphic Design for Architects)
2.2.5.6OPTICALILLUSION
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Figure 18: Interior of BMW museum, Munich, Germany. Source: archdaily.com
Example: Lyon-Saint Exupery Airport, Lyon, France
In the interiors of the airport the concept of optical art and illusion like visual parallax and were used which provided entertainment for an otherwise uneventful journey and create a branded and memorable journey.
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Figure 20: Illustration showing the effect of perspective on walls. Source: Book (Graphic Design for Architects)
Perspective changes perception. When straight lines are painted on walls, they appear smaller in the distance. To counteract this phenomenon, many interior graphics address or exaggerate this effect.
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Figure 21: Interiors of Lyon-Saint Exupery Airport. Source: grapheine.com
Drama can be defined as an exciting, emotional, or unexpected event or circumstance.
2.3.1EXPERIENCEMEMORABILITY
Graphical images or representations in space have certain attributes which give the image a remarkable appearance, giving a space identity and engagement that will enable a quicker and more accurate assessment of the space, differentiating them from one another and giving them a longer-lasting memory.
2.3.2 DRAMATIZATION
A space that differentiates itself from others is the first to be acknowledged and accepted. If a space or building is engaging and understandable, it will spark the person’s curiosity, raise the desire to stay in the space, and the feeling of place will deepen and stay with a person for a long Thus,period.thevisual
2.3.3 ANIMATION
2.3 USE OF GRAPHIC DESIGN IN CONTEMPORARY BUILDINGS
In a space or a building, certain attributes and factors of graphics give the user an immersive experience and it feels like stepping into an imaginary world giving a sense of movement.
The graphics have the potential to bring dynamism and mobility to space. Thus, giving an effect of animation.
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2.4 EFFECTS OF GRAPHICS ON HUMAN PERCEPTION AND
Nowadays, people have expressed increasing interest in having their buildings manifest some elements or some aspects of their identity and the way it is achieved is often graphic rather than strictly architectural. (VIEGAS, n.d.)
identity provided by the graphics to a space act as a mnemonic inducer.
Graphics have the capability of creating drama as it is giving expressions to the space and its elements. These expressions which are contextual, cultural, or regional conditioned create an emotional connection with the space. Also, the placement or positioning of graphics has the potential to make space exciting or unexpected like an element of surprise. Hence, creating an effect and feeling of drama.
Thus, graphics can become ancillary in understanding the space or spatial attributes by giving an expression to contextual, cultural, and regional conditioning in the contemporary scenario.
In the contemporary scenario, people have started opening to new artistic senses, and contemporary forms of expressionism and seek these expressions to be presented in myriad dimensions resulting in aspects of graphic design widening limits and blending in with contemporary architecture.
2.3.4 COMPREHENSION
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Graphics have the potential to hold some hidden and layered meanings.
In space when there is an interaction between the user and graphic, there is a dialogue of comprehension which is created between them where the former tries to interpret, perceive and understand the latter.
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Hence graphics give a feeling and effect of comprehension in an architectural space.
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Figure 22: Grid standing out as a landmark. Source: archdaily.com
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The cases selected for this study are mainly contemporary buildings which include a youthfocused mall, commercial office, pavilion, and institutional buildings. These cases will broadly help to elucidate how graphics are being used in these buildings and what factors of graphic design are affecting the spaces or building as a whole. The selected case studies will also help in analyzing the effect and impact of graphics on human perception and experience.
3. CASE STUDIES AND ANALYSIS
3.2 CASE STUDIES
3.1 SELECTION
3.2.1.1CONTEXT
3.2.1 CASE 01-GRiD, SINGAPORE.
GRiD is a youth-focused mall and education hub
The GRiD is located in the center of Singapore's Selegie Arts District, between the nearby School of the Arts (SOTA) and several dated commercial centers.
Figure 24: Before and after images of the retrofitting. Source: archdaily.com
Figure 23: Site Plan (District Map). Source: archdaily.com
AFTERBEFORE
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The GRiD has been deliberately designed to stand out from its neighbors to create Identity as a youth landmark.
PLACEMAKING
B.Arch. Dissertation 2021-22 3.2.1.2FUNCTION
The usage of vibrant graphics helped in the Placemaking of various shared spaces like the corridors, washrooms, and the staircase.
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Graphic
Figure 25: GRiD creating Identity for Selgie Art District. Source: archdaily.com
Figure 26: Basement Plan before Graphical Intervention. Source: archdaily.com
IDENTITY
Dead spacesDead spaces connectionconnectionPoorPoor
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Figure 28: The poor connections and dead spaces turned into vibrant spaces. Source: archdaily.com
Figure29: Placemaking outside the Source:
washrooms.
Figure 27: Basement Plan after Graphical Intervention. Source: archdaily.com
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Visual Expressionism in Architecture through Graphic Design washroomswashroomsSocialSocial Social CorridorSocial Corridor Social StaircaseSocial Staircase Dead spacesDead vibrantvibrantturnedturnedspacesintointospacesspaces
Figure 29: Blow-up plan for washroom area showing placemaking being done. Source: archdaily.com
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Figure 31: Interior view of Grid. Source: archdaily.com
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Creating a porous circulation with more welcoming entrances with the help of graphical attributes. Also, the graphics on columns, floors, walls, and ceilings help in wayfinding and
WAYFINDING
Main entranceMain entrance
Figure 30: Graphics on the floor for wayfinding and navigation. Source: archdaily.com
Event SpacesEvent Spaces
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Figure 33: Ceilings are used for navigation. Source: archdaily.com
In the above case study following are the elements on which graphical interventions are made:
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WALL COLUMN
Figure 32: Graphical Columns used for navigation. Source: archdaily.com
3.2.1.3SITE
DOOR
For the ceiling design, neon lights are used on the suspended anodized aluminum grid frames.
3.2.1.5PRINCIPLEATTRIBUTES
Figure 34: Illustrations of Space-making Elements. Source: Author FLOOR
The graphics on the wall, floor, and, column follow a variation in scale which creates a contrast between the elements in the space and also creates a hierarchy that helps in easy navigation of the space.
3.2.1.4 MATERIALITY
CEILING
The use of primary and secondary colors like orange, red, and blue is there in the exterior and interiors of the building.
In this youth mall, the graphics are made on walls, floors, and columns with the help of paints of vibrant colors which catch the user’s eye.
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LIGHT
The use of neon lights on the aluminum frames in the entrance gives a feeling of grandness and helps in navigation through the entrance to the interior of the building.
COLOR
The exterior of the mall is orange in color which brings energy and movement and also encourages socialization. The graphics on the floor which are used for wayfinding and navigation are in blue as it gives a feeling of something dependable and trustworthy. The columns are in the red as red increases visibility and draw attention to it.
SCALE & HIERARCHY
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B.Arch. Dissertation 2021-22 3.2.1.6EFFECTOFGRAPHICSONHUMANEXPERIENCEANDPERCEPTION In the above case, the use of graphics creates the effect of memorability, dramatization, and animation. CASE01 IMPACT/EFFECT OF GRAPHICS ON HUMANS MEMORABILITY DRAMATIZATION ANIMATION COMPREHENSION Table 1: Impact Analysis of Graphics for Case 01 3.2.2 CASE 02 - NEW TOWN SCHOOL, KOLKATA. Dhairya Gupta |18BAR010 Page 34 Visual Expressionism in Architecture through Graphic Design Figure 35: View of New Town School. Source: archdaily.com
WALLVOLUME)(ENCLOSING
Graphical expressionism was used as a tool to create an Identity for the school and unify the two separate buildings visually which helps the school stand out from its context. Also, the alphabets and the mathematical symbols give a symbolic identity to the school.
3.2.2.2FUNCTION
The school is surrounded by simple and similar structures and until the architect’s intervention, it was quickly on its way to becoming another set of bland structures in the otherwise unmemorable landscape.
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3.2.2.3SITE
IDENTITY
Figure 36: The building is surrounded by similar structures. Source: Author
The graphical intervention has been made on the walls which act as an enclosing volume in the form of screens for the building and unify them visually thus defining the quality of space.
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3.2.2.1CONTEXT
Figure 38: graphical screen of symbols, alphabets, and numbers. Source: archdaily.com
A mild steel framework was also devised in a grid-like manner on the projected slabs to align with the FRP panels.
A fixing detail using steel Z-profiles was embedded into the FRP panels and was developed to fix these 70kg panels to this M.S. support structure.
In total, 488 panels are reinforced plastic that measure.
3.2.2.4MATERIALITY
In addition to the feature’s aesthetic importance, it also provides shade from the typically harsh sun.
Figure36: Walls of Graphic Intervention highlighted on Ground Floor Plan. Source: archdaily.comFigure 37: Walls of Graphic Intervention highlighted on Ground Floor Plan. Source: archdaily.com
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B.Arch. Dissertation 2021-22 3.2.2.5PRINCIPLEATTRIBUTE
Figure 39: Fixing detail of wall with FRP panel. Source: archdaily.com
GRID
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The screen is following a grid consisting of 488 panels measuring 3.2m x 3.2m each. 13 various compositions were produced, and are placed in various orientations to produce a randomized effect on the façade.
Figure 40: Compositions arranged in a grid. Source: archdaily.com
B.Arch. Dissertation 2021-22 3.2.2.6EFFECTOFGRAPHICSONHUMANEXPERIENCEANDPERCEPTION The graphical screen creates the effect of memorability, dramatization, and comprehension CASE02 IMPACT/EFFECT OF GRAPHICS ON HUMANS MEMORABILITY DRAMATIZATION ANIMATION COMPREHENSION 3.2.3 CASE 03 - TESSALACE COMMERCIAL OFFICE SPACE, MOHALI. Dhairya Gupta |18BAR010 Page 38 Visual Expressionism in Architecture through Graphic Design Figure 41: View of Tessalace. Source: archdaily.com Table 2: Impact Analysis of Graphics for Case 02
Tessalace is a contemporary project that celebrates the materiality of the concrete.
It stands out as a shining example of a contextual response in a sea of similar, bland, and drab commercial structures. Gupta
Figure 42: Loss of identity in similar-looking buildings. Source: Author
Figure 43: Tessalace standing out from its context. Source: youtube.in
In a sea of glass and steel replicas, the risk of a commercial losing its character and identity is extremely significant.
3.2.3.2FUNCTION IDENTITY Dhairya
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3.2.3.1CONTEXT
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The goal of the design was to create a commercial building with life and expression.
The building's 'Identity' is imparted by the graphical RCC façade, which is abstract with acute angles pushed in different directions.
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WALL (SKIN ENVELOPE)
3.2.3.3SITE
Figure 44: Graphical facade with life and expression. Source: archdaily.com
Figure 45: Side and Front Elevation. Source: archdaily.com
Figure 46: Exploded view showing the material used. Source: archdaily.com
An array of horizontal white MS members fills in some of the vacant polygons in the RCC envelope's tessellated composition of polygons, which is marked with white MS flat members.
A Series of polygonal facets composed poetically impart a vivid and distinct persona to the building which creates a memory of the building. Also, the diversity of planes, some solid
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GRID
3.2.3.6EFFECTOFGRAPHICSONHUMANEXPERIENCEANDPERCEPTION
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The grid has been used in the TESSELLATING PATTERN of the façade. Tessellation is a pattern of repeated shapes, especially polygons that fit together closely without gaps or Theoverlapping.building is enveloped in a membrane of tessellated polygons composed in a grid after which an array of solid and voids is created for the facade.
3.2.3.5PRINCIPLEATTRIBUTE
Figure 47: Grid used in the tessellating pattern. Source: Author
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outlined in white, while the others screened spark drama, sense of animation, and establish an engaging connection with the visitor.
instant
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IMPACT/EFFECT OF GRAPHICS ON HUMANS
CASE03
MEMORABILITY DRAMATIZATION ANIMATION COMPREHENSION 3.2.4 CASE 04 - FÁBRICA DE CULTURA SCHOOL OF ARTS AND POPULAR TRADITIONS BARRANQUILLA, COLOMBIA. 3.2.4.1CONTEXT Dhairya Gupta |18BAR010 Page 42 Visual Expressionism in Architecture through Graphic Design Figure 48: The Public Square. Source: archdaily.com Table 3: Impact Analysis of Graphics for Case 03
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the precarious site as a productive, vibrant, and dynamic community hub with the aid of graphic design and also being used as a tool to bring the importance of social infrastructure for underserved communities driven by conflict and insecurity.
It is a complex in Barrio Abajo, a working-class neighborhood in Barranquilla, Colombia, is built into a derelict Tobacco Factory, adding a new building and offering a public square for the
Figure 49: Before and After pictures showing the transformation of community hub. Source: arch.ethz.ch
Theneighborhood.designreframes
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The graphical interventions are used to give ‘Identity’ by transforming the unremarkable surroundings. Here a colorful and vibrant identity is provided to the public square and complex.
3.2.4.2FUNCTION
IDENTITY
PLACEMAKING
Figure 50: Illustration showing the maker space. Source: archdaily.com
The Fábrica provides a ‘maker space’ for 2800 young people to learn creative arts and popular traditions centered around the culture of Barranquilla.
3.2.4.3SITE Dhairya Gupta |18BAR010 Page 44 Visual Expressionism in Architecture through Graphic Design
It is designed to be a flexible place that can accommodate a range of users and cultural traditions, acting as a catalyst for peace in the area by uniting various community members. The graphical attributes help in ‘placemaking’ and bring a sense of belongingness to the place users.
Figure 52: Red color used for spiral staircase. Source: archdaily.com
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Color is playing a very crucial role in placemaking as it is adding to the vibrancy of the functions and elements. The spiral staircase is painted in red color which makes it the first thing to draw attention to when one enters the premises of the building. The colorful tiles used on the floor and wall adds to the playfulness of the space.
The design builds on vernacular patterns utilizing local materials (tiles), processes, and fabrication. It establishes a creative framework of stacked covered and uncovered spaces that can be modified and reprogrammed by users over time.
COLOR
3.2.4.4MATERIALITY
GRID
The colorful tiles are fixed in a grid which forms different patterns on the wall and floor
3.2.4.5PRINCIPLEATTRIBUTES
Figure 51: Graphic interventions on walls, stairs, and floor. Source: archdaily.com
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CASE04
The graphical attributes used in this building create a memory of the space and give a feeling of animation and dramatization. The patterns and colors hold a layered meaning which creates a comprehension between the user and the space.
B.Arch. Dissertation 2021-22 3.2.4.6EFFECTOFGRAPHICSONHUMANEXPERIENCEANDPERCEPTION
Figure 53: The attributes create a vibrant experience. Source: archdaily.com
IMPACT/EFFECT OF GRAPHICS ON HUMANS
Table 4: Impact Analysis of Graphics for Case 04
MEMORABILITY DRAMATIZATION ANIMATION COMPREHENSION
MEMORABILITY DRAMATIZATION ANIMATION COMPREHENSION CASE 01 CASE 02 CASE 03 CASE 04 All the cases are studied and analyzed based on the factors affecting the design of graphics in architectural spaces and the impact or effect of graphics on human beings which explains why Dhairya Gupta |18BAR010 Page 47 Visual Expressionism in Architecture through Graphic Design
Table
5: Comparative Analysis of Factors for all cases PRESENT Table 6: Comparative analysis of the impact of Graphics for all cases.
B.Arch. Dissertation 2021-22 3.3
COMPARATIVE ANALYSIS OF CASE STUDIES
3.3.1 BASED ON THE FACTORS AFFECTING THE DESIGN OF GRAPHICS IN ARCHITECTURAL SPACES
3.3.2 BASED ON THE IMPACT OF GRAPHICS ON HUMANS IMPACT/EFFECT OF GRAPHICS ON HUMANS
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there is a need for graphic design interventions in the field of architecture and how the impacts formed by the graphics during the interaction of human and space creates a distinguishability of the space which helps to comprehend them and keep that space in their mind for a longer
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1. REPRESENTATION OF CONTEXT – The sensitivity and respect towards a context in the form of cultural, regional and social can be fostered and represented with the help of graphic design intervention in a space or building giving people an opportunity to connect with their roots and live through it during their interaction with the buildings or spaces.
4. DESIGN RECOMMENDATIONS
7. CREATING MEMORY OF SPACE - Graphical images or representations in space have certain attributes which give the image a remarkable appearance, giving a space identity and engagement that will enable a quicker and more accurate assessment of the space, differentiating them from one another and giving them a longer-lasting memory.
3. DEFINING PURPOSE – The graphics provide a strong sense of belongingness and an overall environment that is uplifting and create a unique image of the place or the buildings which helps in defining its purpose. Example: Graphical interventions in offices and workspaces help big companies defining their motives and purposes.
4. REDEFINING SPACES AND BUILDINGS – The graphical interventions in space have the potential to transform abandoned, underutilized spaces into lived-in spaces where people love spending time as it provides vibrancy and variations which helps in creating a visual connection.
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2. CREATING IDENTITY – In today’s world most of the people are looking for that one unique feature that creates an identity for their building or space, architectural graphic design has that capability to create that identity as they are powerful, adaptable and can evolve to the quickly changing social situations and context. This identity cane be achieved by various graphical attributes like color, scale, light, digital registrations, etc.
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6. STORYTELLING - Graphics can be used as an instrument to shape spatial planning and elements which help in telling a story. Storytelling is an initiator of change and development, in the sense that it captures the people’s views and values linked to a specific space or building.
5. NAVIGATION - We can navigate and find out our way around familiar or unfamiliar spaces in a building or an environment with the help of Graphic Design. The graphics can be in form of visual cues, tactile information, signage, etc.
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5. CONCLUSION
Many people can paint stripes on a wall, but first, there is a need to understand to how to use the entire volume, sense of place, and context to change the environment or a space to create a story with words, colors, shapes and images.
The digital technology now allows for interaction and screen-based media on large scale. The audience or the user can now communicate with an architectural space in a unique and personal manner.
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Graphics were long considered an inferior form of communication, used on dull architecture to hide flaws. However, the role of graphics and graphic design in architectural spaces has changed a lot over time. Today, the term encompasses architectural delineation, wayfinding, placemaking and bringing identity of elements and spaces.
The difference between a large overwrought design on a wall and a successful graphic is typically based on the factors that affect the design of graphics in architectural spaces.
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B.Arch. Dissertation 2021-22 7. ANNEXURE Visual Expressionism in Architecture through Graphic Design
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