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NCIDQ - IDFX > Design Concepts and Programming > Flashcards

Design Concepts and Programming Flashcards

1
Q

Environmental Design Research

A

-Focuses on theories of the interaction between humans and their environment -Rational design based on scientific research rather than anecdotal evidence or personal philosophy

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2
Q

Evidence-Based Design

A

-Basing design decisions on credible research that links one or more environmental elements with a desired outcome Ex: research has shown that when patients in hospitals have visual and physical access to nature, they recover faster, have less stress, and require less pain medication

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3
Q

Functionalism

A

-Places emphasis on providing simple, rational solutions to design problems with out extraneous decoration -Best represented by modernism of early 20th Century (nurtured by the Bauhaus school of design), where interiors were reduced to what was required to meet strict functional needs without necessary decoration

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4
Q

Gestalt Psychology

A
  • Theory of perception founded in Germany, by Max Wertheimer
  • Says that humans innately perceive things as a whole so that what is percieved is complete and comprehesible
  • Used to develop optical illusions
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5
Q

Grouping

A
  • States that humans percieve separete units in the visual field as a group
  • Two or more grouping priciples can operate at the same time

Ex: Proximity, Similarity, Direction, and Context

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6
Q

Proximity

A

-Objects closest together are seen as belonging together

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7
Q

Similarity

A

-Brain groups objects of similar shape, size, or color together

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8
Q

Direction

A

-Objects perceived to be moving simultaneously in the same direction are seen as a group

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9
Q

Context

A

-Objects are grouped bases on context or past experience, one of the main tenets of Gestalt psychology

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10
Q

Closure

A
  • Also known as form consistency
  • Tendency to perceive incomplete forms as complete
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11
Q

Continuity

A

-Tencency to see a line or shape as continuing in a particualr direction rather than making a sharp turn

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12
Q

Simplicity

A
  • States that people prefer the simplest, most stable organization of forms or the overall structrure of elements in the visual field rather than complex individual parts
  • Generally the brain oranizes things into the fewest number of lines or parts
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13
Q

Fire-Ground

A
  • The way people distinguish a form from its surrounding.
  • Positive and negative space
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14
Q

Perceptual Constancy

A
  • Observer moves closer or farther away
  • Angle of view changes, lighting changes, or other factors change
  • Person perceives an object or a space as essentially the same regardless of the exact image on the retina of the eye
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15
Q

Shape, Size, Lightness, and Color Consistency

A

-People percieve shape, size, light, or color as their original form regardless of point of view, distance, brightness, or lighting

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16
Q

Binocular Disparity

A
  • The eyes are separated by slight distance, the left and right eye have slightly different views of the world
  • This gives people the ability ot perceive distance and see three dimensions
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17
Q

Interposition

A

A distant object may appear to be overlapped and partly hidden by closer object

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18
Q

Linear Perspective

A

Parallel lines will appear to recede towards a single point in the distance

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19
Q

Atmospheric Perspective

A

Because there are small particles in the air, more distant objects may appear to be hazy and may even change in color

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20
Q

Texture Perspective

A
  • The density of a texture seems to increase as the distance from the viewer increases
  • The texture may be fine grain, as on a fabric or of a larger scale, such as ceiling or floor tiles
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21
Q

Size Clues

A

-When two objects are the same size, the more distanct one will make a smaller image on the retina than the closer one

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22
Q

Relative Closeness of Objects to the Horizon Line

A

For objects below the horizon line the closer the objects are to the horizon line the farther away the are.

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23
Q

Cue Inconsistency and Cooperation of the Senses

A

-Reception from each sense is usd as a cue to provide a message about the environment

Ex: Restaurant with smell of cleaning compound instead of food

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24
Q

Maslow’s Hierarchy of Needs

A

-Deficiency needs vs Growth needs

Deficiency needs

Level 1- Food, water, minimal bodily comforts

Level 2- Safety, protection

Level 3- Belonging and love

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25
Q

Behavior Settings

A

-Particular place with definable boundaries and objects in which a standing pattern of behavior occurs a particular time

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26
Q

Territoriality

A

-Refers to people’s need to lay claim to the spaces they occupy and the things they own

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27
Q

Proxemics

A
  • Developed by Edward T. Hall
  • Deals with the issues of spacing between people, territoriality, organization of space, and positioning of people in space, all relative to the culture of which they are a part of
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28
Q

Proxemics - Four Basic Distances

A
  • Intimate Distance- 6 to 18 inches
  • Personal Distance- 18 to 30 inches
  • Social Distance- 4 to 7 feet
  • Public Distance- 12 feet and over
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29
Q

Group Interaction

A

-Seating arrangement is one of the most common ways of facilitating group interactions

Intimate Conversations- two people will sit across the corner of a table or next to each other

Formal or Competitive Conversations- people will sit across from each other

Where social contact is not desired, two people will take chairs at opposites corners of a table

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30
Q

Form

A
  • Basic shape and configuration of an object
  • Can be affected by light, color perception, or other elements

Ex: Cylindrical, flat, square, linear, cube

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31
Q

Point

A
  • Position with no dimention
  • Can be any shape as long as its dimension is very small in relation to its background
  • One point creates location, two points create a distance and implied direction
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32
Q

Line

A
  • Object or form whose actual or visual length greatly exceeds any actual width or depth it may have
  • Convey a strong directional sense and can affect a person’s feeling about space
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33
Q

Horizontal Lines

A
  • Restful, stable, and related to the plane of the earth
  • Seem shorter than vertical lines the same size
  • Make space seem lower
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34
Q

Vertical Lines

A
  • Strength equilibrium, permanence, and strong upward movement
  • Appear longer than horizonal lines of the same length
  • Represent lines that extend away from the observer
  • Tend to make a space appear higher
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35
Q

Diagonal Lines and Curved Lines

A
  • Most dynamic and often represent movement, either upward or downward depending on slope of the line
  • Curved lines related to natural world and human body
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36
Q

Plane

A
  • Form with two dominant dimesions, lenght and width
  • Ex: 36x36x1 table top appears planar
    vs. 36x36x4 table top appears three dimensional
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37
Q

Volume

A
  • Three-dimensional aspect of interior design
  • Objects with volume are perceived as a spatial form having lenth, width, and depth
  • Solid volume (positive space)- has mass and appears to occupy space
  • Void volume (negative space)- space itself
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38
Q

Shape

A
  • Characteristic of an object or space that defines it as distinct from adjacent objects or spaces
  • Ex: Square, circe, or cylinder
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39
Q

Scale

A

-Relative size of something as related to another element of known size

Human scale- objects and spaces are judged relative to the size and form of the human body

Other judgment of scale occurs when one object or space is seen in relationship with the size of another object or space

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40
Q

Proportion

A

-Relationship of parts of a composition to each other and to the whole

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41
Q

Color

A
  • Physical property of visible light that is one part of the larger electromagnetic spectrum, which also inclueds other radiation like X rays and infrared light
  • Red has the longest wavelength of the visible spectrum, and violet has the shortest wavelength
42
Q

Additive vs. Subtractive Colors

A
  • Additive Colors- created with light
  • Subtractive Colors- created with pigments
43
Q

Primary Colors

A
  • Primary colors of light- red, green, and blue
  • Primary colors of pigment- red, yellow, and blue
44
Q

Hue

A

-Basic color

Ex: Blue is different than red

45
Q

Value

A

-Degree of lightness or darkness of color in relation to white and black

46
Q

Intensity (Chroma)

A

-Degree of purity of the hue when compared with a neutral gray of the same value

47
Q

Tint

A

White is added to color

48
Q

Shade

A

Black is added to color

49
Q

Tone

A

-Adding gray of the same value or complement to a hue

50
Q

Brewster Color System

A

-Also known as the Prang Color System

51
Q

Munsell Color System

A
  • More accurate than the color wheel
  • Uses three scales in three dimenstion to specify hue, value and chroma (intensity)
  • Five principal hues- yellow, green, blue, purple, and red
  • The Munsell Color System is not symmetrical because the number of chroma steps varies with the hue (different hues have different maximum saturation strengths)
52
Q

Modifying Values of a Hue

A
53
Q

Munsell Color System

Color Code

A
  • Each hue (yellow, green, blue, purple, and red) have a designated letter
  • The five intermediate hues have a two letter combination designated to them
  • Value is represented by 9 neutral grays plus black and white (axis in the middle 0-10)
  • White is 0, Black is 10
  • Chroma is represented on a scale extending outward form the value axis, on the outside the hue is more saturated
  • Each colors has a designated code
  • Ex: G/6/3
  • Principal hue, Value, Chroma position
54
Q

Complementary Colors

A
  • Opposite to each other on the color wheel
  • An objects color will induce its complement in the background
  • Two complementary colors next to each other, each appears to heighten the other’s saturation
  • Two primary colors seen together will tend to appear tinted with the third primary (Red and Blue together will appear to be tinted with Yellow)

-

55
Q

Simultaneous Contrast

A

-Color placed against a darker background will appear lighter than it is, while a color against a lighter background will appear darker than it actually is

56
Q

Simultaneous Contrast

A

A neutral gray will appear warm when placed to a blue backgound, and cool when placed on a red background

57
Q

Light and Color

A
  • Incandecent light- yellow
  • Midday sunlight- mostly blue
  • Fluorescent- blue and green
  • Warm white fluorescents- yellow and orange

Hue in lighting with similar components will intensify, and hue in complementary lighting would be neutralized

-Red object in incandescent light will appear red and vibrant, while blue object of the same value appear washed out and muddy

58
Q

Warm vs. Cool Colors

A

Warm Colors

  • Red, yellow, Orange
  • Active and stimulating
  • Red- means stop or danger, seen as exciting and hot
  • Yellow- cheerful

Cool Colors

  • Blue, green, violet
  • Restful and quiet
  • Green- nature, restful environment
  • Blue- calming, dignity,
59
Q

Color and Spatial Perception

A
  • Bright, warm colors tend to make objects seems larger
  • Dark colors will make an object look smaller and heavier, and tend to recede
  • Light neutral colors extend the apparent space of a room while dark values make a space feel closed in
60
Q

Using Color and Spatial Perception

A
  • A long narrow room can be “widened” by painting the end walls with a bright, warm color and by painting the side walls a lighter cooler color
  • A high ceiling can be “lowered” by painting it a darker color
  • Individual pieces of furniture can be made more prominent if they are much lighter than the backround of dark floors or walls (or vice versa)
  • A large object can appear to be smaller if is color is light and similar to its background
61
Q

Monochromatic Color Scheme

A
  • One hue with variations only in intensityand value
  • Easy to develop, but can become monotonous

Monotone is a variation of monochromatic color scheme, but consist of a single hue of low intensity (near gray)

-Neutral background, good for an art gallery and wouldnt compete with artwork

62
Q

Analogous Color Scheme

A
  • Uses hues that are close to each other on the color wheel
  • Colors in an analogous scheme will not extend beyond one 90 degree segment of the color wheel
63
Q

Complementary Color Scheme

A
  • Hues from opposite sides of the color wheel
  • Can be harsh when viewed together, so large areas should be low chroma (grayer)
  • Tint or shade of the color
  • Smaller areas or accents can have a higher chroma
64
Q

Split Complement Color Scheme

A
  • Variation of complementary color scheme
  • Color on one side of the color wheel is used with two hues that lie on either side of the complementary color
  • One color should be dominant and used at low leves of chroma
65
Q

Double Complement Color Scheme

A
  • Variation of complementary color scheme
  • Four hues are used
  • Pair on either side of two complements
  • One color should be dominant and used at low leves of chroma
66
Q

Triad Color Scheme

A

-Three colors equally spaced around the color wheel, such as yellow, blue, and red

–One color should be dominant and used at low leves of chroma, and one intense hue could be used as an accent

67
Q

Tetrad Color Scheme

A

-Four colors that are equally spaced around the wheel

–One color should be dominant and used at low leves of chroma, and one intense hue could be used as an accent

68
Q

Texture

A
  • Inherit structure of the mateiral or from the application of some type of coating other the material
  • Two dimensional quality
  • Relative smoothness or roughness of a surface

Ex: Metal is smooth, brick is rough

-Perception of texture is closely tied to the texture’s visual qualities, surrounding textures, viewing distance, and lighting

69
Q

Actual vs. Visual Texture

A

Actual- physical quality that can be sensed by touch

Visual- what people imagine a surface to be simply by looking at it and based on memory of similar textures

70
Q

Texture and Light

A
  • Affects the perception of light
  • Smooth, glossy surfaces reflect light sharply, often creating glare or showing surface imperfections
  • Matte or rough textures tend to diffuse and absorb light reducing the apparent brightness and color of a surface
71
Q

Pattern

A
  • Repetition of a decorative motif on a surface
  • Two dimensional or linear
  • Can become visual texture when viewed at a distance
  • Can be built into a material like ceramic tile
72
Q

Light

A
  • Affects how space and object are perceived
  • Excessive contrast can cause the iris to open and close constantly as it tries to compensate for variations in illumination
  • Leads to physical fatigue, sore eyes, and other physical ailments
  • Uniformity in lighting leves can be monotonous and dull
73
Q

Using Lighting

A
  • Used with other design elements to provide emphasis, rhythm, balance, and contrast
  • Detrimental situations like glare, excessive contrast, and innaccurate color rendition must be avoided
74
Q

Balance

A
  • Arrangement of elements in a composition to achieve visual equilibrium
  • Depends on the idea of visual weight
  • Some elements appear “heavier” than others because of their size, shape, complexity, color, texture, or location
  • Three types of balance- Symmetrical, asymmertical, and radial
75
Q

Symmertical Balance

A
  • Identical elements arranged equally about a common axis
  • Also known as bysymmetrical, bilateral, or axial symmetry
  • Stable and connotes formality
  • Perception of symmetry is more likely to occur when elements are symmetrical about the vertical axis rather than the horizonal axis
76
Q

Asymmertical Balance

A
  • Depends on equalizing the visual, or optical, weights of nonsimilar elements in a composition within a visual field or about a common axis
  • Informal and dynamic
  • No fixed rules, composed and arranged by “eye”
77
Q

Radial Balance

A
  • Elements are arranged uniformly about a central point
  • Focuses attention on center of grouping
78
Q

Harmony and Unity

A
  • Agreement of the parts to each other and to the whole
  • No fixed rules, so it becomes more difficult to create
79
Q

Rhythm

A

-Repetition of elements in a regular pattern

Ex: Gradation

80
Q

Gradation

A

-Type of rhythm where size, color, or value of design elements are gradually modified as the elements repeat

81
Q

Emphasis and Focus

A
  • Elements can be given emphasis by size, color, shape, texture, or location
  • If everything is emphasized, nothing is emphasized.
82
Q

Contrast and Variety

A
  • Juxtaposition of dissimilar elements
  • Create importance, add interest, and variety
  • Can create contrast with light to create emphasis
83
Q

Proportion

A
  • Relationship between one part of an object or composition and another part and to the whole, or between one elements and another
  • Is relative, mattern of judgement and situation, arranged by “eye”

Ex: Chairs could look crowded in one room, while the same chairs can seem proportionally correct in a room with a higher ceiling

84
Q

Proportion Theories

A
  • Golden Ratio- one sinle line is divided into two unequal segments
  • Golden Section- Golden ratio translated into a square

Fibonacci Series- 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89…

-Greek letter, Phi- φ

85
Q

Modulor System

A
  • Develop by architect Le Corbusier
  • Based on Golden Section, but uses human body as starting point
  • Uses average height of a man divided by navel, another proportion is developed by the distance from the top of the head to the findertops when the arm is naturally raised above the head
  • Other proportions are developed from these three dimensions
86
Q

Define programming.

A
  • Procecess in during which information about a problem is collected, analyzed, and clearly stated to provide a basis for design.
  • Defines problem before a solution is attempted. Programming is problem anaysis, whereas design is problem synthesis.
87
Q

Goal of programming.

A
  • Gather information about client’s specific needs
  • Identify broader issues of human factors, environmental responsibility, and social and culturtal influences on the design
  • State client’s goals and objectives
  • Include analysis of the existing building aesthetic considerations, space needs, adjacency requierements, organizing concepts, code review, budget requirements, and scheduling requirements
88
Q

Programming Process

A

-Five-step process in relationship to the four major consideration of form, function, economy, and time.

  1. Establishing goals
  2. Collecting and analyzing facts
  3. Uncovering and testing concepts
  4. Determining needs
  5. Stating the problem
89
Q

Programming Process:

Establishing Goals

A
  • Goals indicate what the client wants to achieve and why
  • Important to identify because they establish the directions of programmatic concepts that ultimately suggest the physical means of achieveing the goals
  • Important to know the objectives the client is trying to reach with those spaces and square footages

Ex: Restaurant owner might be to increase revenues by increasing turnover, owner may want a design that discourages people from lingering after their meal.

90
Q

Programming Process:

Collecting and analyzing facts:

A
91
Q

Programming Process:

Uncovering and testing concepts

A

Programmatic concept- performance requirement related to methods of solving a problem or satisfying a need

Used in the programming process to develop abstract ideas that are functional solutions to the client’s performance problems, without defining the physical means that could be used to solve them

Design concepts- different than programmatic concept because it is a specific physical response that attempts to achieve a prorammmatic concept

92
Q

Programmatic concept vs. Design concept

A

Programmatic concept example:

  • Provide a medium level of security to protect against therft of mechandise without making the security methods obvious.*
  • -*Reponds to a particular problem (security), narrows the problem focus (security of property from theft, as opposed to security of people or security from fire) establishes a way of evaluating how well the goal was reached (are the security methods obvious or not?)

Design concept examples:

  • Provide a central cash/wrap station at the entry/exit point to the store.
  • -Tall all merchandise with concealed electronic identifiers, and incorporate the detection device in the design of the entry.*
  • -Display only samples of merchandise as a basis for buying, and have purchases delivered to the customer from a storage room.*
93
Q

Programming Process:

Determining needs

A
  • Balances the desires of the client against the available budget or stablishes a budge based on the defined goals and needs
  • Wants are separated from the needs in this step
  • Quantity, quality, budget, and time are adjusted to balance needs against availabe resources
94
Q

Programming Process:

Stating the problem

A
  • Previous four steps are a prelude to succinctly satin the essence of the problem
  • Bridge between programming and the design processes
  • There should be at least four problem statements, one for each of the major considerations of form, function, economy, and time
95
Q

Four Major Considerations During Programming

A

Form- Relates to the existing conditions in a space, the physical and psychological environment of the interior, and the quality of construction

Function- Relates to the people using a space, the activities to be performed there, and the raltionship of spaces to each other

Economy- Concerns money: the initial cost of the interior, operating cost (if applicable), and life-cycle cost

Time- Describes the ideas of past, present, and future as they affect the other three considerations. Ex: required schedule for construction is often a time consideration, as is the need for expansion

96
Q

Problem Seeking:

Programmatic Concepts- Priority

A

Priority- Establishes the order of importance of things such as size, position, or social values.

Ex: An entrance and reception area may have higher priority than individual offices, to reflect the goal of enhancing a company’s image.

97
Q

Problem Seeking:

Programmatic Concepts- Hierachy

A

Hierachy- relates to the idea of the exercise of authority an is expressed in physical symbols of authority.

Ex: Reflect the hierachy of traditional law firm, senior members may be given larger offices junior members and may be located in the corners of the building

98
Q

Problem Seeking:

Programmatic Concepts- Character

A

Character- response to the desired image the client wants to project. This may later be expressed in design concepts using materials, lighting, space layout, and other physical responses to the project character.

99
Q

Problem Seeking:

Programmatic Concepts- Density

A

-Low, medium, or high- may relate to how a space or group of spaces are used to respond to goals such as efficient use of space or the desired amount of interaction in an office

100
Q

Problem Seeking:

Programmatic Concepts- Service Group

A

-Includes mechanical services, such as mechanical systems, as well as other functions that support the use of a space. Distribution of supplies, storage space, informatin, and vending areas are examples of these types of functions.

Ex: A goal of decentralizing access to information could be accomplished by the physical desin concept of using satelite libraries throughout a facility, or by developing an electronic database accessible to all worker though computer terminals

101
Q

Problem Seeking:

Programmatic Concepts-

A

NCIDQ - IDFX (8 decks)

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