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De s i g n e d I n t u i t i o n fi fl fi fi fl W h a t We ’ r e A l l A b o u t . . . Elements of SURFACE QUALITY-REAL (TACTILE TEXTURE) ROUGH SMOOTH NON-REFLECTIVE REFLECTIVE T e x t u r e Casa Mía Photographed below, the smooth surfaces of the chairs, table, and booth juxtaposed next to the rough surface of the brick wall add unique dimension to the space. Located next to such large windows, it also creates a significant glare from the natural light coming from outside.
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DesignedIntuition
Designed Intuition at its core strives to be more than simply informative on
the elements and principles of design that make a space “work”. For us, the most
enticing aspect of design lies in what it reveals about human nature and
furthermore, how space can be manipulated based on this to “design” a
person’s intuition when they enter a room. This magazine sets out to increase the
awareness and understanding of something primitive within us all. Using the
everyday commercial and residential interiors and exteriors of Athens, GA, we are
raising the age-old question, “Why did the caveman paint the wall?” How and
why do we use the way we build our homes, our restaurants, our stores to express
our ambitions, fantasies, desires, and needs? We feel confident that this burning
question has the potential to draw in readers of all ages, backgrounds, and interests.
We anticipate a readership of great variety because the nature of our thesis implies
that everyone is a designer. Everyone has the capacity to be influenced and to
influence others through the way environments are built. Ultimately, we are
confident that in increasing the reader’s understanding of the elements and
principles of design through Designed Intuition we can help answer some of the
above questions and nurture and refine the instinctive ability within us all to
“design intuitions” through a space.
W h a t We ’ r e A l l A b o u t . . .
Elements
of
Design
TEXTURE
SMOOTH
ROUGH
SURFACE QUALITY-REAL(TACTILE TEXTURE)
SURFACE QUALITY-IMPLIED(VISUAL TEXTURE)
NON-REFLECTIVE
REFLECTIVE
Smooth Te x t u r e
Casa Mía
Photographed below, the smooth surfaces of the chairs, table, and
booth juxtaposed next to the rough surface of the brick wall add unique
dimension to the space. Located next to such large windows, it also creates a significant glare from the natural light coming from outside.
ROUGH
TEXTURE
Katie A.’s House
The peeling paint on the wall photographed below gives the space a
rustic, aged appeal. As the house itself is indeed old, the decision to not re-paint the wall was intentional in attempt to
maintain an unrefined ambiance.
`d
Real Texture
Photographed on the left, old scrap
strips of corrugated metal are collaged on the wall inside The Last Resort. Highlighted with intense spotlight, the rustic texture adds dimension to
the wall and vintage appeal to the space.
Pictured on the left, three contrasting materials meet to
form a visual hodge-podge of texture inside Transmet Restaurant. The
extra-long suspended downlight helps draw the eye up to its base
at the decorative ceiling reiterating the unique design aspect.
T E X T U R E
IMPLIED
Implied texture can give depth to
a flat or uninteresting space. Shown
here, the use of implied texture
in this mural looks so real you almost want to reach out and touch it. Its’
presence adds a dynamic
perspective to a static space.
The non-reflective texture of the
Episcopal Church on Prince Ave. make it appear more solid
and grounded where a building with more windows (reflective
surfaces) has a more airy feel.
SKETCH
Non-reflective Texture
R ef lect ive Texture
The reflective, embossed ceiling pictured above inside of Transmetropolitan Restaurant helps to amplify the subtle yellow light used in the space by reflecting its glare back down into the eating area. Aside from being simply stunning, the use of this ceiling finish helps lighten an otherwise dimly lit space with dull, non-reflective wall finishes.
L I G H TArt
Task
Track
Mood
Soffit
Natural
Colored
Ambient
Uplighters
Combustion
Floor Lamps
Table Lamps
Toe Kick/Raiser
Glare from Natural
Light
Glare from General
Light
This piece of art lighting inside of The Last Resort helps add a vivid accent to the space. Its natural construction mimics aged
brickwork else-where in the restaurant. It helps give the restaurant’s formal atmosphere a more casual touch.
Ar tL igh t ing
TASK LIGHTING
Task lighting is used to emphasize a space that may need
a little extra light such as an island in a kitchen or a desk
in an office.
SKETCH
TRACK LIGHTING
The Last Resort
Track lighting generally involves several units of lighting which can move
freely around a track and be angled in many
different directions.
This type of lighting is often
used to feature art or for dramatic
effects on otherwise blank
walls.
The lighting pictured below inside of
Walkers Café and Pub lends this
corner of the restaurant/bar a warm
orange glow. The pendant fixtures
orange tint emits light which creates
an intimate, inviting environment
good for enjoying a warm cup of
coffee or getting some studying done
in a soothing, welcoming space.
MOOD
LIGHTING
Soffit
LightingA soffit is an exposed
undersurface of an overhanging section
that protrudes from a wall. Adding lighting to
such a space helps to emphasize whatever is
located beneath the soffit as well as adding
interest to the structural piece.
N A T U R A L
L I G H T
With minimal assistance from the suspended
lights, the back patio at Walker’s Café and Pub is
lit almost entirely by natural light. It’s a
refreshing, yet private outdoor experience with
your favorite coffee drink or beer!
COLORED
L I G H T I N G
Colored light is often challenging to
incorporate into interiors because of the unusual light it casts. However, Big
City Bread-above-has used a combination of
colored and normal lighting for a unique
lighting scheme.
SKETCH
AMBIENT
LIGHTING
The ambient lighting photographed below inside Clocked has a unique, playful attitude
about it. The bright colors and varying patterns are all tied together through the repetitive use
of the same fixture shape.
SKETCH
U P L I G H T E R S
Uplighting can help to minimize the intensity of light in a space. Because it is reflected off of a surface before it reaches the eye (the ceiling), it is perceived to be less
severe.
COMBUSTION
LIGHTING
Combustion lighting can quickly enhance a spaces’ romanticism.
The piece photographed below adds just that along with providing a
significant amount of light due to the
number of candles used.
Casa Mía
Floor Lamps
Floor lamps are a
very common form of lighting in interior spaces. They offer a softer, more gentle light in comparison to overhead lighting which can stress the eyes and make one
tire faster.
SKETCH
TableLamps
Table lamps are everywhere-plain and simple. They light up a book or spice up a dull
corner. Table lamps come in all different forms and
can add pizzazz to any space!
Clocked
TOE
KICK
LIGHTING
Toe kick lighting, pictured below inside The Smoker’s Den in Athens, can add a
unique visual interest with its reflection and general soft glow. Though it looks
expensive, this is simply rope light stapled underneath the bottom shelf.
GLARE
FROM
NATURAL
LIGHT
Generally a restaurant would try to avoid a glare such as the one pictured below when
choosing the material for their flooring. Such a glare could be very straining on the eye. This restaurant, however, is open for dinner only and thus utilized this to their advantage and
chose to use large, bare windows.
Glare from General Lighting
Big City Bread
The sconces which cover all but the bottom portion of the lightbulb allow direct light from the bulb to be exposed creating a very distinct glare.
The glare from the lights picture here inside of Big City
Bread is definitely a visual draw.
L I N E
Straight Horizontal
Straight Vertical
ZigZag
Curved Flowing
Curved Tightly
S t ra ight Hor izonta l L ine
Springdale Street
Straight, horizontal lines often create a
grounding effect to the eye. Here, the repeated use
of horizontal lines in the roof line and window
overhangs makes the house appear to have
more mass than it does.
These lines elongate the structure and give it a high optical density.
S
T
R
A
I
G
H
T
V
E
R
T
I
C
A
L
L
I
N
E
Straight vertical lines can make a
strong, bold statement if
emphasized in design. Here, the
light paint on the outside bricks
makes the long vertical lines pop
out from the building. Its height
feels exaggerated as a result.
Meigs St.
Z IGZAG L INE
Zigzag lines can have very
different effects
depending on their direction. For example, the line of the roof on the left
makes the building look grounded and
static. The zigzag lines on
the pillows, however, seem
to imply movement and
energy.
CURVED
FLOWING
LINES
SKETCH
The curved, flowing
lines of the roof at Urban Lofts juxtaposed
with the angular lines just below the roof line and the
strong vertical lines of the metal siding help to soften the
modern look. As a result, the buildings maintain a
sophisticated but warm appearance.
Tigh t l y Curved L ines
Bright colors aside, the use of tightly curved lines on this house
lends it a whimsical, somewhat playful feel.
Harris Street
Where these types of lines
can often create a tight constrained
feeling, these lines feel light
and airy.
C O L O RMonochromatic
Analogous
Direct Complementary
Triadic Complementary
Double Complementary
Tetrad Complementary
Split Complementary
Alternate Complementary
Neutral Palette
MONOCHROMATIC
COLOR
The use of monochromatic color schemes is rare in interiors because of the number of objects that would
need to be of the same color origin. It is, however, more common on exteriors of homes such as pictured
here with blue, green, and brown monochromatic color schemes.
Finley Street
Finley Street
Dubose Street
A n a l o g o u sC o l o r s
Analogous colors are three colors that are next to each other on the color wheel as
shown below. Pictured here, the colors include blue, green, and yellow in a paisley pattern on suspended Chinese
lanterns.
Hannah E.’s Loft
COMPLEMENTARY COLORS
Complementary colors are colors that are opposite one another on the basic color wheel. Two high intensity color complements placed next to one another tend to draw the eye’s attention. However, in more muted hues, two complements’ contrast become less noticeable.
Mixing two complementary colors helps to neutralize the intensity
Dubose Street
SKETCH
Triadic
Complementary
Colors
Triadic complementary colors are three colors that are
evenly spaced on the color wheel for
example, red, yellow, and blue, as shown in the photo
to the left.
Helix
Double
Complementary
Colors
Double complementary colors
are two pairs of complementary colors used at the same time. Photographed below are the complements red and green, and orange and blue.
Tetrad Complementary Colors
Tetradic complementary
colors are four colors that are spaced as
such on a color wheel that they form a
rectangle between one another.
Photographed here is a combination rarely found on the exterior of homes with vibrant
blue, green, orange, and red.
Pictured above, Transmetropolitan Restaurant demonstrates this color scheme with a high chroma blue next to a saturated red ceiling and a green wall.
Split-Complementary
ColorsSplit complementary color schemes involve
one hue, and two equally spaced from its
complement.
A L T E R N A T EC O M P L E M E N T A R Y
C O L O R S Alternate
complementary
colors are a set of
triadic
complementary
colors plus a direct
complement of
one of the hues.
Here, the triadic
grouping is red,
yellow, and blue
with purple as
yellows direct
complement.
Helix
NEUTRAL
PALETTE
Neutral palettes can often have a very calming and soothing affect on ones mood. Beiges, tans, whites, and some greens can all be used in a neutral palette to help one relax
and be at peace.
S P A C EPOSITIVE SPACE
NEGATIVE SPACE
CROWDING
TERRITORIALITY
SKETCH
P O S I T I V E S P A C E
Positive space is any part of a design that carries visual weight. Here, a screen which is meant to provide privacy has small
holes through which light can penetrate. It does, however, have enough positive space that it provides adequate privacy for
anything/anyone on the other side.
Helix
N e g a t i v e S p a c e
Helix
Negative space is anything in design which lends no visual weight to
a space. Taken from ground level, one can see that the boutique, Helix, utilizes negative space
liberally creating an open, airy feel to their store.
SKETCH
Crowding
Crowding is most commonly a problem experienced away
from home (hopefully!). Though proven to be less
appealing, a crowding effect is sometimes unavoidable and in boutiques, this often seems to be the case. Pictured here is a
store overflowing with racks of shoes, purses, jackets and
more-all right up against one another!
Heery’s
T e r r i t o r i a l i t y
Territoriality is any length a person goes
to in order to personalize a space as
their own. Here, the owner of this
bedroom used an art piece in which she
had to spell her name with objects she
photographed, in order to claim the
space as hers.
Lauren W.’s House
P A T T E R NP A T T E R N
Episcopal Church Prince Ave
S H A P E
Geometric
Natural/Organic
Abstract
Non-Representational
Static
Dynamic
SKETCH
GeometricShape
Geometric shapes are
very common in design.
They’re simple, yet can be used
in dynamic and interesting ways to create variety. Here the designer used circular
shapes to create a
shelving unit.
Natural/OrganicShape
Natural and organic shapes are also
more common than you’d think.
Because spaces which lack such shapes or forms
often feel too industrial, they are commonly thrown
into the mix of most interior spaces.
Photographed here is a unique organic
shape featured outdoors in the form of graffiti. Almost as
though it were planned, the trees
that extend beyond the roof line seem to
stem from the painting itself.
Sunshine Cycles
SKETCH
Sunshine Cycles
Abs t r a c t
S h ap e
Abstract shape is generally one that is recognizable, but not precise. For example, the figures pictured on the left are clearly birds and a few fish, however never -or at least very rarely ;) - would you ever see a fish or a bird that actually looked like this. Therefore, the
shapes are representational, but
abstract.
Non-representation Shape
SKETCH
Unlike abstract shape, non-
representation shape has little to no recognizable parts. Such as pictured here,
many non-representation
shapes consist of random line segments or
splatters.Jittery Joe’s
Dynamic Shape
Dynamic shape can be used to imply movement and give a 2D shape a bit more life than usual. This vivacious characteristic
is obvious in the photograph on the right
taken outside the concert hall, The 40 Watt. The flowing lines of notes
make it seem as though it could almost move if it
wanted too.
S t a t i c S h a p e
Unlike dynamic shapes, static shapes do not imply movement. They are very stagnant and seemingly more permanent. This
shape, for example, seems especially permanent because of its partial
embedding into to the wall.
SKETCH
A-OK’s Cafe
F O R MG e o m e t r i c
N a t u r a l
A b s t r a c t
N o n - o b j e c t i v e
GEOMETRIC FORM
Certain geometric forms are
very obviously
easy to find in the built
environment-squares and rectangles-
however forms such as the repeated
triangles pictured here are a bit more rare to spot.
Natural Form
Incorporating natural form into a design can give a
space a more natural, casual feel and heaps
of interest!
This sculpture outside of Big City
Bread is a huge visual interest
piece and draws lots of attention in
their outdoor eating area.
SKETCH
Abs t r a c t Fo rm
SKETCH
P"nciples
of
Design
B A L A N C EVisua l Symmet ry
S t ruc tu ra l Symmet ry
V i sua l Asymmet ry
S t ruc tu ra l Asymmet ry
V i sua l Rad i a l Symmet ry
S t ruc tu ra l Rad i a l Symmet ry
SKETCH
VISUAL SYMMETRY
STRUCTURALSYMMETRY
UGA President’s HousePrince Ave
True structural symmetry is not always difficult to find, however there are certain places that seem to stand out more than
others. The UGA President’s House-pictured above-is a prime example of bold symmetry
with symmetrical landscaping to match.
Visual
Asymmetry
Structural Asymmetry
Prince Avenue
Visual asymmetry is a good way to
communicate balance without having exact
mirror images on each side of a center line like
shown below.
Structural Radial Symmetry
SKETCH
Structural radial symmetry can often be found in on the exposed
ceiling joists of old porches. Pictured above you can see the joists that form a radial pattern as they round the
corner of the building.
H A R M O N Y
Unity through Line
Unity through Shape
Unity through Color
Unity through Repetition
Variety through Color
Variety through Materials
Variety through Furniture
Variety through Modern
in Contrast to Old
Unity Through Line
Unity Through Shape
Unity through
Color
The co-op grocery story on Prince Ave in Athens uses vibrant turquoise to tie together its porches and trim. Though a single element might look out of place in such a bold hue,
they work harmoniously together and provide for a very stark contrast between itself and the deep red brick.
Unity Through Repitition
Variety through Color
variety through materials
variety through furniture
Variety Through Modern in
Contrast to Old
Agora, in downtown Athens, is a hodge-podge
of antique and retro, modern and old. The
entire store is dripping with interest and the different pieces flow
together flawlessly despite their eras of origin.
E M P H A S I SFocal Point-Visual
Focal Point-Structural
focal point-visual
Focal Point Structural
This house, located on Milledge
Avenue, has a very distinct visual focus.
The eye is almost
immediately pulled
towards the large arched
entryway as it contrasts so starkly with
the other vertical and horizontal lines used.
M A S S I N GActual Density
Optical Density
actual density
optical density
R H Y T H M
Repetitive
Climactic
Contrast
Transitional/Flowing
Repetitive
Rhythm
A space, whether interior or exterior, can gain significant cohesiveness if rhythm is used correctly. Here, repetitive
rhythm is used, tying together the windows, balconies, awnings, and even landscaping. All the way down the slope
the same pattern continues creating a unifying effect between all the spaces.
College Avenue
CLI
MACTIC
R
H
Y
T
H
M
Photographed above, you can see how the structure of the staircase and its exposure to outside almost forces the eye
upwards. As it climbs, the architectural detailing becomes more intricate-to the tops of the corinthian columns and all the way up
to the decorative railing at the roof line. Its movement and rhythm is most definitely one of climax.
contrast
transitional/flowing rhythm
Space Planning/Furniture Arrangement
Successful Space Function
Unsuccessful Space Function
Straight Line Groups
L-Shaped Groups
U-Shaped Groups
Circular Groupings
Parallel Groupings
Solo Groupings
successful space function
unsuccessful space function
straight line grouping
L-shaped grouping
U-shaped grouping
circular grouping
parallel grouping
solo grouping
P r o p o r t i o n
Object in Proportion with Space
Object NOT in Proportion with Space
object in proportion with space
object NOT in proportion with space
S C A L E
Human Scale
Symbolic Scale
human scale
SYMBOLIC
SCALE
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