The task of urban ism

The

task of urban ism is to organize the use of the land to suit the works of

man, which fall into three categories:

1. The unit of agricultural production;

2. The linear industrial city;

 3. The radio- concentric city of exchange (ideas, government, commerce). Urbanism is a science with three dimensions. Height is as important to it as the horizontal expanse.”

Richard Neutra wrote, “Giving shape to a community and moulding its activities is urban design. It deals with the dynamic features in space, but in time as well.” Walter Gropius wrote, “Good urban design represents that consistent effort to create imaginatively the living spaces of our urban surroundings.

urban design’s unique value stems from its vagueness

 In order to supersede today’s soul- destroying robotization, the modern urban designer’s exciting task is to satisfy all emotional and practical human needs by coordinating the dictates of nature, technique, and economy into beautiful habitat.” Sigfried Giedion wrote “poetically”: “Urban Design has to give visual form to the relationship between You and Me.” Again one thinks of Sert’s words: “a fog of amiable generalities.”

In this context, perhaps urban design’s unique value stems from its vagueness

or rather from its provision of an overarching framework that can bridge more specialized design efforts

‘sketching’ will really help you when creating a CANVAS from scratch.

ARTISTIC  language or taking a course of  design sessions

 

 For a lot of Sketches document, the most useful reference and the most effective method to learn about sketch is through design tutorials instead of just reading a publication on a particular ARTISTIC  language or taking a course of  design sessions. Similar to some other type of tutorials, they are created to guide you through the detailed processes to let you see everything you need to undertake to get from beginning to finish

In today’s post, we provide you once again with a new compilation of ‘sketching’ that will really help you when creating a CANVAS from scratch. These description or outline are free to experiment with. Thus, take time to master every procedure so that you will be able to create an effective IN ‘sketching’   without having to spend a great amount of money or assistance of an expert.

Here is essential which provides cool tips in creating a ART. 
If you are planning to BE AN ARTIST  then better browse this post as the description  listed below give a simple and faster way to get your CANVAS done while not having to undergo a lengthy process. Have a great time browsing

• The word ‘drawing’ presents a general term, whereas ‘sketching’ focuses on a specific technique. Both can take the form of an action or object, verb or noun, as each can imply movement. 
• The Oxford English Dictionary defines a sketch as a brief description or outline ‘to give the essential facts or points of, without going into details.’ Sketches document the primary features of something or are considered ‘as preliminary or preparatory to further development’(1985).
•  Historically, the act of sketching or drawing on paper involves line. At its most basic level, the production of line constitutes making marks with a pointed tool, initiated by movement and force. 
• In reverse, eyes follow a line and with that action the ‘line’s potential to suggest motion is basic’ (Lauer, 1979, p. 151). A line, or mark, made with the bodily action of the hands, demonstrates its ability to cause reflective action, as it attracts the human eye to follow it. 
• This cognition spurs associative thoughts, as the line suggests new forms (Lauer, 1979). Much of the ‘motion’ of a sketch comes from the physical action of the hand; in this way, the tool becomes an extension of the body and reflects the human body. James Gibson, the psychologist and philosopher, writes concerning human contact with a drawing and suggests that making marks is both viewed and felt (1979). 
• The ‘gesture’ of this intimate participation with a sketch gives it meaning and individuality. The control of a hand on the drawing tool yields not a consistent line, but one that is varied, thick or thin.
•  The quality of the mark is important, since individual lines produce association in the minds of architects. Gibson believes, in company with philosophers such as Aristotle, that it is reasonable to suppose that humans can think in terms of images (1982). Conversely, but consistent with his theories of visual perception, there cannot be vision without the cognitive action of thought. Sketches can be analogous for actions that do not involve a mark on paper. For example, a quick skit by a comedian may be deemed a ‘sketch,’ although it does not involve the mark on a surface. 
• Thus, a sketch may be defined by its preliminary and essential qualities. Sketches may also comprise three-dimensional actions preliminary to architecture, such as the fast ‘sketch’ model, or be conceived of digitally as a wire-frame massing in the computer. In such ways, the intention takes precedence over the media. 
•  How sketches act to assist design thinking designates their value. As these definitions imply, sketches are notoriously imprecise; valueless physically, and seen as a means to find something or communicate rather than as prized objects in and of themselves. 
• They are usually, but not necessarily, loose and lacking in detail. Some architects make simple but precise diagrams, while others may use sketches purely for communication
•  HOPE WE MAKE SENSE !!! SAY A WORD ABOUT IT AND SHARE WHATS OWN YOUR HEART…

Psychological pain is a warning that we are not meeting our primeval needs

If we persistently do things in the wrong order, psychological problems may arise. 

         Psychological pain is a warning that we are not meeting our primeval needs and we need to address this.

        The needs at the bottom of the hierarchy, Alexander argues, are broadly speaking met by modern cities, but further up needs are not being met consistently for most of us.

However, within this basic hierarchy our needs should change with age, as we develop. 

The psychologist Erikson famously defined four main stages of adult development.56 He proposed that we could not pass through the latter stages until we had passed through the former ones.

An ascetic essay from 1966 called ‘Planners’ People’ proves that planners had always aroused suspicion from those who questioned their objectivity. In this case criticism came from within their own profession. 

    The authors – professional town-planners - asked why it was that planners’ drawings for downtown development schemes were always populated with the same ‘stock-cast ‘of six characters.   These were always white, upper middle-class, law-abiding, cultured, and professional - just like the planners themselves.

They concluded that included only those ‘types’ amenable to their own ideals of urban living and overlooked the true heterogeneity of the city. Nevertheless, they placed these ‘stock characters’ in real urban vistas, to lend them credibility.

     In his paper ‘Creating places or designing spaces?’

      Jonathan Dime considers the process of ‘place making’ and tests the degree to which an architect can design a place’ independently of the people who will actually use it.

He argues that while modern architecture has concentrated on the properties of geometric space, psychology has neglected to look at the physical context of behavior.  

   He concludes, not surprisingly, that we can not create a place.

The reason why three-dimensional visualization is better than the other techniques

 The human visual cognition process is studied to find the solution to the current architectural communication issues.

Three-dimensional visualization has been employed extensively by architects as a medium for explaining architectural concepts since the availability of computer-aided design.

         It has been proved to be a far more effective communication technique compared with the conventional methods such as technical drawings and lexical documentation. However, the reason why three-dimensional visualization is better than the other techniques has not been explicitly examined.

             This article describes the problems in the current architectural communication process. It starts with the discussion of the problem of the current communication methods used in architectural design followed by the discussion of the popular communication theory. After that, the human visual cognition process is studied to find the solution to the current architectural communication issues.

           At the end, we three-dimensional architectural visualization as a solution to improve the current architectural communication method

In what ways can architecture impact human behavior?

Social scientists or psychologists links between the design of the built environment and our behavior, both individually and socially

    Designing and constructing environments in which people live and work, architects and planners are necessarily involved in influencing human behavior.

 While Sommer (1969, p.3) asserted that the architect “in his training and practice, learns to look at buildings without people in them,” it is clear that from, for example, Howard’s Garden Cities of To-morrow (1902), through 

Le Corbusier Ville Contemporaine and La Ville radieuse, to the Smithson's’ ‘Streets in the sky’, there has been a long-standing thread of recognition that the way people live their lives is directly linked to the designed environments in which they live. Whether the explicit intention to influence behavior drives the design process—architectural determinism (Broadly, 1966: see future blog post ‘POSIWID and determinism’)—or      whether the behavior consequences of design decisions are only revealed and considered as part of a post-occupancy evaluation (e.g. Zeisel, 2006) or by social scientists or psychologists studying the impact of a development, there are links between the design of the built environment and our behavior, both individually and socially

How a space gains meaning-Ideal spaces for peace and happiness

 The psychological and social aspects of space when two disciplines meet real innovations can be made

           A recent review suggests that patients have recover quickly after surgery if they had access to a window with a view of the natural landscape, that certain light and color combinations increase immunity and that patients are more confident of being looked after well if they are pleasant, calming environments.

Conversely, poorly designed or dilapidated environments dissuade people from seeking help.

               Artistic, aesthetic aspirations and theories about form are in tension with the psychological and social aspects of space, but they are not eclipsed by them. The science of psychology provides some parameters for design without prescribing the end result. 

            When two disciplines meet real innovations can be made. Certain elements of environmental determinism can be usefully combined with a flexible system, which truly evolves with the user.

As a result of this review I would like to set out a modest manifesto. 

If architects are to design for people they should: 

•  Be aware that psychologically healthy spaces need to be flexible enough to allow for individual differences, sub cultural differences and changing needs over time, in order to achieve a sense of ‘place’ 
•  Be aware of certain core, universal human needs while accepting individual and cultural differences,
• Avoid writing their own subjective scripts for what they perceive to be psychologically healthy buildings or cities, and 
• If they can not design ideal spaces for peace and happiness, at least aim to minimize psychological and social harm by understanding how a space gains meaning.

A number of basic guidelines apply when planning Japanese landscaping

Landscaping Growing in Popularity

The Japanese style of landscaping has the goal of recreating the serenity of a natural environment. Fundamental ingredients used include carefully placed stone, statuary, bonsai, and fish ponds. Bonsai is a traditional technique of training small trees to encourage their growth into certain shapes; it is one of the Japanese arts. Relaxing strolls through the garden are laid out with formal paths.

A number of basic guidelines apply when planning Japanese landscaping. The first being that plants and other elements not be located symmetrically. Nature is asymmetrical. Flowers and trees don't naturally grow lined up in rows or in square formations. The impression to aim for is a space that does not look man-made.

Another guideline of Japanese landscaping is that it must not be crowded. Because yards can be small, sometimes people want to fit in as many plants as possible. This can easily end up looking chaotic and messy. Just like with the Japanese sense of interior decorating, a minimum of plants cleverly arranged can generate an innate harmony of visual calm.

A roughly triangular pattern appears commonly in Japanese landscaping. For example, there are three plants you want to plant, the largest is located first as an anchor point of the triangle. The next largest becomes the second point on the triangle, and the third largest plant the other point. This arrangement helps balance the aesthetic mass of the three elements.

Symbolic meanings are associated with plants and other elements used in Japanese landscaping. Deciduous trees, for example, like the colorful Japanese maple, stand for the change that is constant all through life, since they show a different aspect of themselves every season. On the other hand, evergreen trees stand firm and stable. In order for something always to be in bloom in the garden, flowers are often planted that will bloom sequentially. The colors seen in a Japanese landscape garden tend to be pastel and subtle. In fact, subtle is a good word to keep in mind when planning out your Japanese landscape garden.

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ART Vs THOUGHT

why there are different design cultures in different schools of architecture and offices. It will introduce the idea that there are different – though often related – aesthetic, theoretical and
professional communities within the discipline of architecture, which have different ways of valuing visual, textual and three-dimensionalcommunication.
It will also suggest that some of these design cultures are

sometimes perceived to be more powerful and influential than others, so
that some architectural aesthetics, theories and practices receive greater
attention and recognition