Ortiz, Gabriela F13 ECU

European!

Architecture!

December 2013!

Design!

Edition!

Elements & Principles of Design!

Explore the brilliance of European architecture!

1 h$p://europeantrips.org/eiffel‐tower‐iron‐lady.html

Design Thesis………….3!

From the Editor……..4! !

Elements of Design!

Line……………………………6!

Texture……………………10!

Light…………………………14!

Color……………………….18!

Space……………………….22!

Shape……………………….26!

Form………………………...30! !

Principles of Design!

Balance………………….35!

Harmony…………………39!

Emphasis…………………43!

Massing…………………..46!

Rhythm……………………49!

Proportion…………….53!

Scale……………………….56!

Table of contents!

Inside European Architecture!

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European Architecture!

"gives an insightful look "at "the amazing "architecture "throughout Europe.

"Europe is home to some of "the most beautiful, and "renowned architecture in "the world. The magnificent "buildings encompass a "range of the elements and "principles of design, "working together to make "the architecture truly "breathtaking. !

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About the!

Editor…!

My name is Gaby Ortiz. I was Born and

raised in Greenville, North Carolina. I’ve remained in Greenville to further my education at East Carolina University, where I am studying merchandising. I come from a small family, but that hasn’t stopped me from dreaming big. Although I chose to stay in my hometown for college, I dream of someday leaving Greenville to travel around the world. Living in one place my entire life has inspired me to want to travel and take in everything else out there; the idea of visiting other countries and places enthralls me. Ever since I can remember, I have been fascinated with Europe; particularly the beauty of the architecture. I long to lay my eyes on the Eiffel Tower, the Trevi Fountain, ! and so many ! more of the!

Most!

Renowned! buildings in! the world. !

Gaby Ortiz

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Elements!

Of Design!

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Horizontal !

Lines!

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Horizontal lines create a feeling of tranquility and solidity, also providing strength to the overall design. The European flats, shown above, display strong use of horizontal line. The division of each floor provides a visual horizontal line running across each building. !

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Vertical Lines!

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Vertical lines tend to establish a feeling of height, strength, and dignity. The columns at the front of the Pantheon create strong vertical lines, leading the eye up and down. The use of columns in architecture tend to create a feeling of importance.!

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Flowing!

Curved!

Lines!

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Curved lines have a delicate and graceful effect. Large, concave curves, like those seen in European cathedrals, give a feeling of solidity. Use of concave curves can have a dramatic effect. Yet, curving lines still create a flowing, peaceful feeling. !

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Texture!

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Tactile Texture!

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h$p://www.flickr.com/photos/hogan3774/8549054135/

Tactile textures are textures that can literally be felt when touched, as the carvings on the Pantheon can be. The intricate detail within the cornice provides visual interest, beauty, and gives the building 11 character. !

Implied Texture!

Implied textures look as if the texture could be felt when touched, but can not actually be felt. These textures have smooth, flat surfaces that give a 3D illusion. Implied textures are read visually, not by touch. !

12 h$p://apinchofpixiedust.blogspot.com/2013/04/cathedrals‐of‐europe.html

Reflective!

Texture!

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Reflective textures are those that reflect light. Smooth, shiny surfaces reflect more light than opposing dull surfaces. The highly polished floors in the cathedral easily reflect light coming in from the window. Light reflection from shiny surfaces can brighten a room; however the reflections can also cause glare. !

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Lighting!

14 h$p://www.123rf.com/photo_10366749_chandelier‐inside‐peter‐and‐paul‐cathedral‐saint‐petersburg.html

h$p://www.123rf.com/photo_14820233_sun‐rays‐beaming‐through‐the‐old‐ stained‐glass‐window‐of‐saint‐denis‐cathedral‐and‐ligh<ng‐interior.html

Natural!

Lighting!

Natural light is supplied from the sun. The huge window in this cathedral allows an ample amount of natural light to fill the room. Depending on the season, natural light can be either warm or cool. !

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Uplighter!

Lighting!

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Uplighter Lighting refers to lighting that is directed upwards. The upward light then reflects off the ceiling and back down, lighting the entire room as opposed to one specific area. !

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Combustion!

Lighting!

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Combustion serves as a secondary source of natural lighting. It can be produced by fire, oil lamps, candles, and gaslights.

Combustion lighting is valued for it’s soft glow that sheds a flattering light and creates a warm atmosphere.!

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Color!

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Triad Complement!

Triad complement is a threecolor contrasting color scheme. It is made up of any three colors that are equidistant on the color wheel. This stained glass window displays a triad complement scheme using the primary colors red, blue, and yellow. !

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Direct!

Compliment!

Direct complement is the most simple contrasting color scheme. It is created by using any two colors that are directly opposite each other on the color wheel.

One of the hues should dominate the scheme, as the blue does in the stained glass window. The secondary color, orange, works well in the design because it is used in smaller amounts. !

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Tetrad Complement !

Tetrad complement is a fourcolor scheme. It is created by using two pairs of complementary colors. As shown in the stained glass window below, red and green are paired with blue and orange creating a design pleasing to the eye. !

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Space!

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Positive Space!

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Positive space refers to the space actually taken up by an object. !

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Negative Space!

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Negative space refers to the space between and around an object. The negative space has no visual weight, but it is still there. !

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Crowding Space!

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Crowding space literally refers to a space that is crowded. Crowding can happen in the interior of buildings, or with the buildings themselves, as displayed in the city below. !

Shape!

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Abstract Shape!

Abstract shapes are those that are meant to represent an object, but in an theoretical way. Abstract shapes are commonly used in stained glass windows in European cathedrals. abstract shapes are representations of real life images or objects in a different perspective, such as the image of a bird in the stained glass window below. !

27 h$p://www.flickr.com/photos/gustavothomastheatre/5350617775/

Geometric!

Shape!

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Geometric shapes encompass the common shapes such as squares, rectangles, circles, and triangles. These shapes are two-dimensional, laying flat on a surface. The top of this European dome has been decorated with a pattern of geometric shapes mainly consisting of squares. !

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Natural & !

Organic Shape!

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Natural and organic shapes flow well and have a natural look. They flow and curve such as objects in nature do.

Natural and organic shapes give off a calm and peaceful feeling.!

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Form!

30 h$p://www.behance.net/gallery/European‐Architecture/4522403

Abstract Form!

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Abstract forms are not your every day forms. These forms are similar to certain objects, but are used differently to add interest and individuality. Although abstract forms are different, the object itself is 31 still evident. !

Natural Form!

Natural forms originate from the natural world.

These forms entail curvy, flowing lines. Natural forms give interest to a design, also making them appealing to the eye.!

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Non-Objective!

Form!

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Non-objective forms are those that do not represent anything in particular. These forms are not supposed to represent a real life object, rather they are free-formed. !

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Principles!

Of! Design!

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Balance!

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Structural Symmetry!

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Symmetrical balance consist of identical objects arranged equally on each side of an imaginary line. Structural symmetry refers to symmetry created by the actual structure of the architecture. The Eiffel Tower is structurally symmetric right down the center, making it 36 formally balanced. !

Visual Asymmetry!

Asymmetry refers to balance by using objects of different size, shape, or color. Asymmetric balance is not identical on either side, however each side balances out the other. The different statues on either side of the steps create asymmetry, while still providing balance.!

37 h$p://www.behance.net/gallery/European‐Architecture/4522403

Structural Radial Symmetry!

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Radial symmetry is achieved when all elements of the design radiate out from a central point. The circular window of the Leon cathedral is an ideal example of structural radial symmetry. The symmetry is created by the structure of the window itself. No matter which way the window is divided, it will still be symmetric to the other half; there is symmetry throughout the entire window. ! 38

Harmony!

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Unity Through Line!

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Harmony refers to a unifying theme present in all component parts that works to blend them together; it can be created through a blend of unity and variety. Harmony can be achieved by unity through line, whether it is the use of one type of line or a combination of different lines. The Museo del Prado encompasses vertical, horizontal, and curved lines. These various lines work well together, creating a feeling of harmony about the building. !

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Unity Through!

Shape!

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A feeling of unity can be created through the use of shape. By using the same shape throughout a design, or even different shapes that flow well together, a feeling of harmony can be attained. The Pont du Gard displays unity through the repetitive use of the arch shape.

The different sized arches bring variety into the design, while still remaining harmonious overall.41 !

Unity Through!

Repetition!

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Harmony can also be obtained through repetition. Unity through repetition refers to the repeated use of objects throughout the overall design.

The recurrent windows along the side of the Palace of Westminster bring a sense of uniformity to the building; the windows act to unify and harmonize the building as a whole. !

Emphasis!

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Visual Focal Point!

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Focal point is the center of attention; it is the emphasis in a design that repeatedly draws the eye.

Focal point can bring a feeling of order and unity into a design. The stained glass windows in this cathedral, especially the larger one, create a visual focal point on the exterior and interior of the building.!

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Structural Focal Point!

Structural focal point is emphasis created through the actual structure of the building. Structure is a more subtle way of drawing the eye toward The center of attention.

The architecture of the cathedral is flowing smoothly toward the focal point. !

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Massing!

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Actual Density!

Density is a degree of compactness of a structure.

Actual density refers to an object that looks dense, as well as actually possessing density. The Portonaccio sarcophagus is a solid object, containing no empty spaces, or negative space; it is a true representation of actual density.!

47 h$p://www.rome.net/palazzo‐massimo

Optical!

Density!

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Optical density refers to a structure that appears to be dense, but in reality it is not; it is visual density that is not really there. Optically dense structures contain empty spaces, making them only appear to be dense. The Erechtheion is a picture-perfect example of optical density because of the negative space created by the 48 Caryatid porch. !

Rhythm!

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Repetitive!

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Rhythm can be achieved through repetition by repeating color, pattern, texture, line, light, or form. Repetition is a common means of obtaining rhythm. The repeated rectangular shapes in the Cathedral of Florence produce rhythm, leading the eye 50 across the building. !

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Contrast!

Rhythm can be achieved through contrast as well. The various shapes, and sizes of shapes, covering the Cathedral of Florence create rhythm through contrast. Although there are different shapes and sizes they still flow well and bring unity and harmony to the 51 design.!

Transitional/!

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Transitional/flowing rhythm is found in a curved line that carries the eye easily over an architectural element. The archways and arches on the ceiling create a transitional rhythm within the Cathedral of Florence, flowing easily from 52Â one arch to the next. !

Proportion!

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Objects in!

Proportion!

Proportion encompasses both the relationship of one part of an object to its other parts or to the whole. The Greeks developed the golden rectangle, which is a rectangle whose proportion of width to length is 2:3; this is considered the most pleasing proportion. The Parthenon at Athens, which is based on a ratio of 1:1.16, fits almost exactly into the golden rectangle. With that being said, the Parthenon is an ideal example of a proportional object.54 !

Objects!

Not In! Proportion!

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Objects not in proportion with space refer to those objects that are either too big or too small for the space they are in, or not in human scale. The statue of atlas atop the Linderhof castle represents an object that is not in proportion. The world could not literally be carried on the shoulder of a man; since the world has been represented as being so small, it is not proportionate to 55 the rest of the statue. !

Scale!

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Human!

Scale!

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Scale compares an item or space to something of a known size.

Human scale is the most common reference. Human scale is consistent with the proportions of an actual human. These ideal proportions can be applied to the statue of Apollo Belvedere.!

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Symbolic!

Scale!

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Symbolic scale is used to symbolize something within a design. Objects may be bigger than they actually are to symbolize importance or add emphasis. The Lion of Belfort is huge compared to the size of an actual lion; therefore, this statue uses symbolic scale. ! 58Â