GA2011 – XIV Generative Art Conference

Vesna Dragojlov

Paper : Application of the art and architecture principles in the design of spatial models

Topic: Architecture Authors: Hussein s. Abdulah University of mosul – Architecture dept.Iraq www.uomcoe.org Vesna Dragojlov University of Advancing Technology, Multimedia Department Arizona, USA www.uat.edu oday Q. abdulqader University of mosul – Architecture dept.Iraq www.uomcoe.org References: [1] Maitland Graves, “The Art of Color & Design”, Mcgraw,hill Book Company , USA , 1951. [2] Michael Leyton , “Shape as memory: a geometric theory of architecture,” media publisher group , German , 2006. , [3]Francis D.K. Ching , “Architecture Form , Space & order “ ,2ed edition : John Wiley and Sons Inc. Deckler, T., Graupner, A. & Rasmuss, H. USA, 2006.

Abstract In the field of architecture and art the design of any spatial models should adopt important principles in the creation of an integrated model: one or more principles can used to generate the same shape or an object , and many objects can be created employing architecture and arts principles. The color and texture give a model a sense of form and the possibility of recognizing it from the more scientific perspective: as an example, students from the first year of the College of Engineering have used several different models of art and architecture; these models have been analyzed using geometrical methods to find the strategies for creating those models. After geometrical analysis had been completed, the results showed that models used more than one principle to generate them. The principles have been used on two levels: at the first level the macro composition was created; the second level included a micro composition to create one unit. This unit has formal relationships that linked to the other unit. In addition to using a selection of color (homogeneity and contrast) , this paper provides an insight into the principles of installation form such as adjacency and proportionality at the first level, and at the second level, the principles of private relations as well as structural design have been used, such as the gradient balance. The focus has been on exploring shape and design alternatives, where producing many shapes from different colors and different relations depends on the principles of art and architecture, which, in turn, provide the basis for the formation of design models.

Contact: oday.chalabi@uomcoe.org Archhussein77@yahoo.com vdragojlov@uat.edu

Keywords: spatial models, geometrical analysis, art and architecture principles

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Application of the art and architecture principles inthe design of spatial models

Oday Alchalabi, MSc in Architecture DesignDepartment of Architecture, Mosul University, Mosul, Iraq

www.generativeshape.come-mail: odaychalabi@gmail.com

Mr.Husain S. Abd. M.Sc in PlanningDepartment of Architecture, Mosul University, Mosul, Iraq

Prof. Vesna Dragojlov, MA, MA, Linguistics and Digital Media Program Champion for Human Computer Interaction

Associate Professor of Digital Media and HCI University of Advancing Technology, Tempe, Arizona, USA

e-mail:

Abstract

1. Introduction

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Figure (1) the structure study.

2. Previous Studies

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(figure -2) three stage to create the compact shapes.[1]

(figure-3) the partial object and the concept.[2]

(figure-4) Using single shape to design compact shape.[3] (fi 4) U i i l h t d i t h [3]

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(Figure-5) using many shapes to create multi-compact shape.[3]

(Figure-6-) variable of overlapping [5].

3. Conclusion from the previous studies

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4. The items of the theoretical framework

4-1 The level of individual parts

4-1-1

(figure-7) one shape with another shape to create multi-shape .

4-1-2

(figure-8) using new shape to subtract from main shape

(Figure-9)using same shape in deferent scale in subtraction process

.

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(figure-10) deferent shape are used subtraction process

4-2 The level of the whole:

4-2-1

(figure-11) parallel Axis .

(figure-12) the angle between the axes of the repeated shapes is bigger than a zero

(figure-13) radian axes with overlapping objects.

4-2-2

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4-2-3

(Figure-14) color variables (harmony , tone ,contrast ).

(Table -1) variables to measure the samples.

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5. The empirical study

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(figure-15) image for one real modes which is measured in table above.

6. Results of the practical study:

7. Conclusion:

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5B8.Refrences :

A Scientific Basis for Creating Architecture Forms, Journal of Architectural and Planning Research

The Art of colour and Designdesign exploring the elements and principles

Architecture Form, Space , and Order

The Geometry of Environment, An introduction to spatial organization in design

the Semantic of colour in the Islamic and Arabic ART

, " color co-ordination hand book "

ART PERSPECTIVE:

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Sol LeWitt:

Cube Without A Corner Octagon on a Cube Progression #2

Manfred Mohr: Subset Series

Common Principles in details:

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Bridget Riley: Composition with Circles

Garrett Savo: Arts and Technology class; University of Advancing Technology, 2011

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Toyo Ito, Serpentine Gallery, London

Frieder Nake: Rectangular Hatchings (1965):

MOS Architects: Coat Hook

parameterization,

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Keith Tyson: Fractal Dice

Ned Kahn: Mesa Art Center, Mesa, AZ

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CONCLUSION:

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Josh Hemmy, student at the University of Advancing Technology, 2011

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