THE ANALYSIS OF THE EMOTIONAL UNDERSTANDING/PERCEPTION OF THE OBJECT'S FORMS.

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0 INTENSE INTERIOR. THE MOST INFLUENTIAL. HAVING RELATION WITH OUTDOOR VIEW,PASSING through small squeezed entrance that leads to ENORMOUS SPACES.decreasing and

raising the main nave, due to the vast space is extremely exciting. however, side naves calms theemotions.

THE EFFECT OF COMPOSITION IN RELATION WITH APPROACH TOWARDS IT IS ACHIEVED INVARIOUS WAYS. EMOTIONAL IMPACT ALSO DIFFERS.

EVEN THOUGH FROM THE FIRST GLANCE THE COMPOSITION LOOKS EMPTY OR NOT FILLEDWITH THE OBSERVED OBJECT IN A NECESSARY QUANTITY OR EMOTIONAL EFFECT, THERE

APPEARS EVOCATIVE HITS THAT PROVOKES OUR IMAGINATION AND PUSHES FORWARD WITH AWISH TO SEE EVERYTHING.

ANOTHER SCENARIO IS ALSO POSSIBLE AS THOROUGH DEVELOPMENT OF THE OBJECT IS A

CONSERVATIVE, THEREFORE SAFE WAY TO HAVE THE OBSERVER FOLLOWING THE ROUTEHONESTLY.

AS THE CHURCH IS DENSELY ENCLOSED DUE TO THE HISTORICAL FACTS, ALL THE ROUTESARE SIMILAR IN A WAY THAT ALMOST ALL OF THE HAS ONLY HINTS. MIGHT SEEM LIKE A

DRAWBACK, BUT IT TURNS TO BE THE STRONGEST FEATURE OF THE OBJECT THATENCOURAGES TO EXPLORE AND PERCEPT IT ALL AND FINISH ONLY AFTER GETTING FULL IMAGE

AND THEREFORE EMOTIONAL EXPERIENCE.

00 CONDENSED. starting from basanavicius street the route is followed by even more enclosedtraku street and then flash of almost main facade.SURPRISING BUT NOT PROVIDING EVOCATIVE

DETAILS

000 COHERENCE. starting from the distant view of the back side of the church, going round and atthe final facing the main facade, the OBJECT IS REVEALED STEP BY STEP. the ROUTE IS THE

MOST THOROUGH and HAS NO BLIND SPOTS. COHERENT RAISE OF EMOTIONAL LEVEL -CONSTANT EXCITEMENT.

0000 STRESS. starting on the hill with a picturesque view followed by a long brake and afterwardsprompted only with small EVOCATIVE SUGGESTIONS, puts an emphasis on the last point.

THOROUGH INCREASE IN VISUAL THEREFORE EMOTIONAL STATE. STRESS AT THE VERY END.

00000 UNEVEN. starting from basanavicius street, up the hill continues with a long blind path.hidden behind the courtyard wall inevitably comes to the maximum. REACHES THE PEAK AND HITS

THE BOTTOM. displays UNEVEN SCALE OF EMOTIONS. SUDDEN CHANGES IN PERCEPTION.

the analysis is carried on the PRANCISKONU CHURCH, located on the boundary of the old town ofvilnius.

the interest field is dealing with THE PERCEPTION OF THE OBJECT AND THE EMOTIONAL ASPECT.four exterior and one interior routes were chosen as exploration with different observation points

here is essential and provides the full understanding of the possible emotional impact of the object.here main criteria becomes OBJECT SHAPE AND ATTRACTIVENESS, RELATION WITH SPACES,

RELATION WITH DOMINANT SPACES, DISTANCE, PREVIOUS IMPRESSIONS, COMPLEXITY OF THEROUTE.

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BASANAVICIAUS STREETTRAKU STREET

LYDOS STREET

open space opensthe view. the objectis found aspleasantly inscribedin the silhouette ofthe town and theoverall view isemotionally strong

after a pause,space slightlywidens offeringthe view of thehighest cross.even thoughthesurroundings islackingaesthetics, thehint isattracting andclose enoughto invite

parking lot dominates in theview however the cross iscloser. old church complexboundaries emerge

the interspacebecomes tight,pressure raisestherefore verticalelements of thechurch is even moreemphasized andworks emotionallystrongly

full view isrevealed. strongsense of pressureof the previousimage changesinto admiration

the vertical objectoverwhelms the observer -pinnacle of emotions

object isgraciouslyinterlaced inthe panorama.perspective isinvolving due tothe generalimpression

view is closedand narrow,horizontalelementsdominates.however thisjust makevertical crossesstrive to standout the ratio of

vertical andhorizontalchanges,narrowspace ispushingtheobserverwithanticipationforward

horizontalityreturns, narrowspace andreminisce ofthe previousstate reducesemotionalperception

narrowspacemaintainsnegativepressure.thisinconvenientemotionalconditionand hintcausesmovementtowardstheobject

full view isrevealed. strongsense of pressureof the previousimage changesinto admiration

the verticalobjectoverwhelmstheobserver -pinnacleofemotions

semi-enclosed space,object appears modestly

the ratio of the object inenvironment increasesalong with emotions

continuation of fluent increase. no oppositionbetween the strength of emotion and theview. traditional secure development

space becomes more narrow, scaleincreases. strong changes visibly impactsthe level of emotion

interspace reaches theminimum, object oversizethe field of perception. thisgenerates almost thestrongest emotions

impression falls off as theclose distances diminishes -perspectives reminds of theformer impact

object is graciouslyinterlaced in the panorama.perspective is involvingdue to the generalimpression

after a long blind enclosed path,space suddenly changes - itbecomes wider, contours of thechurch appears behind the trees.alteration of environment causesexcitement

going deeper, the relative scalestarts to alter - object stands out andoccupies the space becoming thefocal point of surroundings andtherefore evoking its' significance

the verticalobjectoverwhelmstheobserver -suddenpinnacle ofemotions

pinnacle ofemotions (exterior)

squeeze of entrance

enormouschange inperception.importance ofthe reminisceof formerstage

spaciousness,importanceofaesthetics

intimacy,relativeenclosureof space

chamber perception

THE ANALYSIS OF THE EMOTIONAL UNDERSTANDING/PERCEPTION OF THE OBJECT'S FORMS.

the findings of the analysis in the field of UNDERSTANDING/PERCEPTION of the object’s forms - having PRANCIŠKONŲ CHURCH as subject matter - are revealed in displayed interpretation. the keystone for interpretation

was the MOVEMENT and the feature of HINTS that evokes our imagination and invites us to move forward and see the whole offering completely DIFFERENT VIEWS and EMOTIONS with every step. in this way, the FULL RANGE OF

EMOTIONS are experienced.

as for the movement and emphasis on the importance of it, the geometric shape of the sphere was chosen. this symbolizes constant and continuous movement. we do not see the physical SPHERE in the composition, however

the presence of it is strongly felt leaving no doubt, what is the core of the structure.composition is comprised of two main elements - outer shell that follows the sphere and inner part that is hidden in between of the boundaries of the perceptual sphere. the shell is more like an OBSTACLE that either PREVENTS OR

REVEALS the views towards the main object (tie to church) laid in it and makes the emotional evaluation level CHANGING suddenly and severely all the time what even more attracts the observer.

materials does not play the main role here - they are employed in order to represent better two different elements and

point out the significance of their different origins therefore the DIFFERENT INTERACTION.

full display of objects - maximum emotional evaluation - dominating element is the essential one (composition of white elements)

in the view appears obstacles. obstacles occupies the front position. however the elements of the objects are still trying to com-pete

presence of obstacles. importance of the object still recognizable even though it is becoming as an obstacle itself

obstacles takes the leading role. only evoca-tive hints of the object remains

balance of visibility of the objects - obstacles and hints interacts and attracts

dominance of the obstacles over the main element. emphasis on importance of the (vertical - thus better understandable) hints

ability to see the object is low - almost nothing is visible due to the obstacles

sudden change - nearly all the hidden elements appears at the same time

after the full range of emotions the object retrieves its importance and dominance

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front right

backleft

object (main volume of the church)

vertical dominants (crosses)

single standing element of complex

(chapel)

part of the complex

(monastery)

complex of the church and monastery

obstacles - 3 main sides

that encloses the view and

creates the play

chapel (remains on the boundary of sphere and is perceptually connected to the composition)

growth into an obstacle

(monastery wall)