Far Eastern University Institute of Architecture and Fine Arts

ARCH 1412: Theory of Architecture 1

Module 4 Ergonomics | Anthropometrics | Design

Ergonomics is the science of work: of the people who do it and the ways it is done; the tools and equipment
they use, the places they work in, and the psychosocial aspects of the working situation.

Ergos + Nomos The Principle of User - Centred Design

• ‘ergonomics’ came from the Greek: ergos, If an object, a system or an environment is intended
work; nomos, natural law. for human use, then its design should be based upon
• coined by the late Professor Hywell Murrell the physical and mental characteristics of its human
• work + tools =task users
Ergonomics is the science of fitting the job to the worker and the product to the user
Criteria for successful match between user + product

• functional efficiency (as measured

productivity, task performance, etc.);
• ease of use;
• comfort;
• health and safety;
• quality of working life— and so on.

The USER CENTERED APPROACH Investigative

Methods

• A task analysis is a formal or semi-formal

attempt to define and state what the
user/operator is actually going to do with
the product/system/environment in
question.
• A user trial is an experimental
investigation in which a sample of people
test a prototype version of the product
under controlled conditions

Anthropometrics is the branch of the human sciences that deals with body measurements:
o body size Human Diversity: User Requirement
o shape o Sex Differences
o strength o Ethnic Differences
o working capacity o Growth and Development
o Secular Trend
o Social Class and Occupation
o Ageing
APPLICATION OF ANTHROPOMETRY IN DESIGN Workspace Design
Clearance
• Clearance dimensions relate to access and the space needed to perform a task, but additional clearance
may be important for comfort
• Safety Clearances
The design of barriers to exclude people from a hazardous area has to take account of behaviour
(both normal task behaviour and risk-taking behaviour) as well as the physical dimensions of the
people at risk.
• Personal Space (Proxemics by Robert T. Hall)
physical characteristics of the spaces we inhabit also have psychological overtones
o Intimate (up to 450 mm)
o Personal (450 to 1200 mm)
o Social (1200 to 3500 mm)
o Public (over 3500 mm)
Reach
• The area within which manual tasks can
be performed easily (or at all) is defined
by the workspace (or reach) envelope
• Maximum reach therefore depends on
the extent to which stretching and
leaning forward is acceptable for
performance of a given task (which in
turn is influenced by the duration and
precision of the task)
• It is also dependent on whether the task
involves gripping by the hand, finger
pinch grip or fingertip operation
Vision and the Posture of the Head and
Neck
• central part of the visual field is sufficiently
sensitive for demanding visual tasks such
as reading text or recognizing a face
• downward eye movements are limited to
24 to 27°; beyond that point the head and
neck are inclined forwards and the neck
muscles come under tension to support
the weight of the head

Working Height, Posture and Strength

• Recommended Working Height:
o For manipulative tasks involving a moderate degree of both force and precision: 50 to 100 mm
below elbow height
o For delicate manipulative tasks (including writing): 50 to 100 mm above elbow height (but wrist
support will generally be necessary)
o For heavy manipulative tasks (particularly if they involve downward pressure on the workpiece):
100 to 250 mm below elbow height
o For lifting and handling tasks: between mid-thigh and mid-chest level, preferably close to waist
level
o For hand-operated controls (e.g., switches, levers, etc.): between elbow height and shoulder
height
ARCHITECTURAL DESIGN DATA: Dimensions of Human Figures
This Architectural Design Data shall be used as a guide when designing spaces although details must be verified
if applicable to the context of users/environment and code requirements.
ERGONOMICS AT HOME
The house is generally divided into a number of more or less discrete spaces, each of which is specialised for the
performance of a particular range of purposeful activities or working tasks’.

Layout
Two Basic Design Principles

• First Principle: Sequence of Use

o Right-handed person: sequence of activity proceeds from left to right thus:
▪ sink to main work surface to cooker (or hob) to accessory work surface for putting things
down.
▪ Sequence should be unbroken by tall cupboards, doors or passageways;
▪ Straight line — an L- or U-shaped configuration
▪ An accessory work surface to the left of the sink completes the layout
o Left -handed person: reverse sequence would better, but both are workable
• Second Principle: Frequency of Use
o Refrigerator, sink and cooker constitute the much discussed ‘work triangle’ of frequently used
elements
o through circulation should not intersect this triangle — particularly the route from sink to cooker
o Sum of the lengths of the sides of the triangle (drawn between the centre fronts of the
appliances) should fall within certain prescribed limits.
▪ 7000 mm for small to medium-sized kitchens
▪ 8000 mm for large kitchens
▪ minimum combined length of 3600 mm and a maximum of 6600 mm for the kitchen
▪ sink-cooker distance should be between 1200 and 1800 mm in length
Worktop Height
• In order to determine an optimal height for kitchen working surfaces, we must consider both the
anthropometric diversity of the users and the diversity of tasks to be performed
• ISO 3055 (1985) specifies a standard worktop height of 850 or 900 mm, suggesting that ‘adjustments can
be different plinth heights and other means’.
o ‘appropriate’ heights of 850 to 1000 mm for food preparation
o 900 to 1050 mm for washing up
Storage
• recommends that shelves (300-mm deep) up to the height of 1400 mm can be used by 95% of the elderly
population, but this should be restricted to a maximum height of 1350 mm if they have to reach over an
obstruction such as a counter top
• cupboard space in the 800 to 1100 mm optimum height range being strictly limited,
• most accessible storage space in the kitchen becomes the worktop
Bathtub
• must be large enough for comfortable use by one person (or perhaps two) but should not have needless
volume, requiring filling with expensively heated water
• width of the bath must at least accommodate the maximum body breadth of:
o single bather (95th %ile man: 580 mm)
o couple side by side at (95th %ile couple: 920 mm)
o a couple on opposite side at (95th %ile couple: 625 mm)

Handbasin/Lavatory
• handbasin will be used for washing the hands and face and sometimes the hair
• criteria are relatively simple:
o it should be possible to wet the hands without water running down the forearms
o bending should be minimized
o basin rim that is at about the elbow height of a short user would be appropriate (5th %ile woman:
930 mm)
o for washing the hands, the water source should be located 100 mm above the rim of the basin,
which should be set at 915 to 965 mm

Water closet
• preferred height for a toilet seat was 404 mm for women and 430 mm for men, although there was
considerable variability (standard deviation: 30 to 33 mm)-recommended seat height was 400 mm
• Constraint on toilet design:
o limited space- layout needs careful consideration to optimize the use of space
o second factor: location of the toilet paper dispenser or water tap should be considered in relation
to the method of dispensation
• Accessible toilet:
o clear area 1.5 m in diameter is needed for wheelchair turning space
o room length and width for a fully accessible toilet should be 2.2 m by 2 m
Bed
• single and double beds ranged in length from 1900 mm to 2360 mm which means: (Assuming bed length
of at least 150 mm greater than his or her stature for comfort, we may calculate that a bed length of):
o 1980 mm will be too short for 1 man in 10
o 2055 mm will be too short for 1 man in 100
o 2105 mm will be too short for 1 man in 1000
o 2150 mm will be too short for 1 man in 10,000
• bed should be wide enough to allow these changes in posture to proceed unimpeded which means the
wider the better
Stairs
• main design considerations are the step height and depth and the surface finish, which should be slip-
resistant
• Grandjean (1988), recommends stair riser (step height) of 170 mm and a tread depth (step depth) of 290
mm, although he adds the following ‘stair formula’:

• British standard BS 5395: Riser: minimum, 100 mm; maximum, 220 mm (preferably less) and tread
depth: minimum, 225 mm; maximum, 350 mm
• U.S. military standard MIL-STD-1472F (Department of Defense, 1999) recommends: Riser: 165 to 180
mm and tread depths of 280 to 300 mm
• Philippines PD 1096: Riser: maximum 200 mm and tread depth: minimum 250 mm
• Philippines BP 344: Riser: maximum of 150 mm and tread depth: minimum 300 mm
 Far Eastern University Institute of Architecture and Fine Arts
ARCH 1412: Theory of Architecture 1
Module 5 Space Articulation and Kinesthetics
WHAT IS ARTICULATION
In art and architecture, is a method of styling the joints in the formal elements of architectural design.
Through degrees of articulation, each part is united with the whole work by means of a joint in such a way that
the joined parts are put together in styles ranging from exceptionally distinct jointing to the opposite of high
articulation—fluidity and continuity of joining. In highly articulated works, each part is defined precisely and
stands out clearly; the articulation of a building reveals how the parts fit into the whole by emphasizing each
part separately.
Architecture is said to be the art of the articulation of spaces. And geometry is the architect's basic tool,
but it is not the architect's system of communication. That system is the defining of object in the surrounding
space. Articulation is the geometry of form and space

THE CONCEPTS OF SPACE

A. SYSTEM OF SPACES
o “Man orients to “OBJECTS”
He adapts physiologically and technologically to physical things He interacts with other people
He grasps the abstracts of realities or ‘MEANING’.
That is why people created different languages to communicate.
o Do you believe that a man’s action is compromised when the space is too small?
SPACE CONCEPT
Most of man’s actions compromise a SPATIAL aspect, in the sense the objects of orientation are
distributed according to such;
1. Relations as inside and outside
2. Far away and close by
3. Separated and United
4. Continuous and Discontinuous space
Man can understand the spatial relations and unify them. Until human created space to express the
structure of his world. “EXPRESSIVE or ARTISTIC SPACE”
o Expressive space – needs a space concept which systematizes its possible properties or they call it
AESTHETIC SPACE.
The creating of expressive space has always been the task of specialized persons. (Builders, architects,
planners) while aesthetics has been studied by architectural theorist and philosophers.
ARCHITECTURAL SPACE is defined as a concretization of man’s existential space. It has to adopt itself to
the needs of organic action as well as the facilitating orientation through perception.
But above all, it is related to the space schemata of man’s individual and public world through interaction
with existing Architectural Space.
B. THE CONCEPT OF SPACE IN ARCHITECTURAL THEORY
o ARCHITECTURAL SPACE IS DIVIDED INTO TWO CLASSES:
1. EUCLIDEAN SPACE – It stimulated by the importance of three-
dimensional geometry.

In connection with SPACE FRAMES & PREFABRICATED BUILDING

SYSTEMS
o ARCHITECTURAL SPACE IS DIVIDED INTO TWO CLASSES :
2. Those which try to develop a Theory of a Space on the basis of perception psychology.

SPACE – is created, enclosed, molded and organized by the spatial boundaries defined by elements of
form.
The most influential aspect of the “Analysis” stage of design problem solving.
ACTIVITIES CONDITIONS PEOPLE
So before you design a space for people to behave in, you need to know how they behave in a space.
PHYSICAL SPACE “It is easier to design for people’s physical needs than
to provide for their social and psychological needs.”
PHYSICAL CHARACTERISTICS
Measurable Commodity
▪ You can measure furniture to be put in a space.
▪ You can measure how high storage can be placed in a kitchen by
▪ finding out what is the average height of a person.
▪ Can learn appropriate size of spaces.
▪ Everything is concrete, no analyzation of people’s feelings.
▪ Objects are designed for people’s convenience and comfort.
SENSORY PERCEPTIONS
1. NOSE – “SMELL” olfactory (Air pollution, carbon monoxide, factory nuisances, smog) *SEALED
BUILDINGS are used to control thermal environment.
2. EAR – “HEAR” (Noise, sonic boom) + Acoustical Refinement.
3. EYE - “SEE” judicious proper colors of light
THE PROCESS OF SPACE ORGANIZATION
In the past there was no freedom in planning since the designers only think of superficial details.
In developing a set of basic principles for the production of a living architecture. The Architectural Design should
think of ‘SPACE WITHIN A SPACE”, and not of a solids in space.
Formerly we use masonry walls as a separator from the space to the man. Now, architecture is space,
conditioned to suit human needs.
The Principles of space organization for architectural purposes are concerned with;
1. The use of space (utility, function) service to occupants.
2. The collaboration of materials (strength) permanence and security.
3. The contributions of aesthetics (beauty) architecture as distinguished from the first two mere building.
The decision as to what type of organization to use in a specific situation will depend on;
1. The demands of the building program such as;
Functional Proximities
Hierarchical classification of the spaces
Requirements for access, light or view.
2. Exterior Conditions of the Site that might limit the organization’s form or growth, or that might
encourage the organization to address certain features of its site and turn away from other.
Though those who possess the ability
mag go directly from a statement of
the requirements of a client to a
picture of the various spaces or
volumes combined in such a way that
the needs of the occupants will be
served.
SPACE TO SPACE RELATIONSHIP
SPACE WITHIN A SPACE
A larger space can envelop, and contain within its
volume, a smaller space. Visual and Spatial
continuity between the two spaces can be easily
accommodated, but the smaller,” contained” space
depends on the larger, enveloping space for its
relationship to outdoor space

INTERLOCKING SPACE

In interlocking spatial relationships consists of two The interlocking portion can develop its own integrity
spaces whose fields overlap to form a zone of shared as a space that serves to link the two original spaces
space. When two spaces interlock their volumes in
this manner, each retains its identity and definition as
a space. But the resulting configuration of the two
interlocking spaces will be subject to a number of
interpretations
ADJACENT SPACES
This allows each spaces to be clearly defined and to respond, each its own way, to
its functional or symbolic requirements.

SPACE LINKED BY A COMMON SPACE

Two spaces that are separated by distance can be linked , or related to each other, but a third, intermediate
space. The relationship between the two space will depend on the nature of the third space to which they share
a common relationship.
SPATIAL ORGANIZATION
A building’s spaces can be arranged and organized in 5 way but with a usual requirements for various kinds of
spaces, such as;
1. Specific Functions, or requirement for specific forms.
2. Spaces that are flexible in use and can be freely manipulated.
3. Spaces that are singular ad unique in their functions or significance to the building organization.
4. Spaces that have similar functions and can be grouped into a functional cluster or repeated in a linear
sequence.
5. Spaces that require exterior exposure for light, ventilation, view or access to outdoor spaces.
6. Spaces that must be segregated for privacy. 7. Spaces that must be easily accessible.
FIVE CATEGORIES OF SPATIAL ORGANIZATION STUDIED IN TERMS OF:

• What kinds of spaces are accommodated and where? How are they defined?
• What relationships are established among the spaces, one to another, and to the exterior?
• Where is the organization entered and what configuration?
• What is the exterior form of the organization and how might it respond to its context
CONFIGURATION – To form after an arrangement of parts or a form or figures determine by the arrangement
of parts.
CONTEXT – A joining together. The whole situation, background or environment relevant to a particular event,
personality, creation.
FIVE WAYS TO ARRANGE AND ORGANIZED SPACE
1. CENTRALIZED A central, dominant space about which a number of secondary spaces are grouped.
2. LINEAR A linear sequence of repetitive spaces.
3. RADIAL A central space from which linear organizations of space extend in a radial manner.
4. CLUSTERED Spaces grouped by proximity or the sharing of a common visual trait or relationship.
5. GRID Spaces organized within the field of a structural or other three- dimensional grid

CENTRALIZED LINEAR RADIAL

CLUSTERED GRID
CENTRALIZED ORGANIZATIONS
A Centralized organization is a stable, concentrated composition
that consists of a number of secondary spaces grouped around a
large, dominant, central space.

Introverted scheme that focuses inward on its central space

The Central unifying space of the organization is generally regular
in form, and large enough in size to gather a number of secondary
space about its form

The secondary spaces of the organization may be equivalent to

one another in function, form, and size, and create an overall
configuration that is geometrically regular and symmetrical
about two or more axis.

The secondary spaces may differ from one another in their form
or size as a response to their individual requirements of function,
relative importance, or context. This differentiation among the
secondary spaces allows the form of a centralized organization
to respond to varying conditions of its site.

Circulation patterns within a centralized organization may be

radial, loop. or spiral in form. An almost every case. however, the
pattern will terminate in the central space.

LINEAR ORGANIZATION
A linear organization consist essentially of a series of spaces.
These spaces can either be directly related to one another.
Spaces can be linked through a separate and distinct linear space

A linear organization usually consists of repetitive spaces that are alike in

size, form and function.
It can also consist of a linear space that organizes along its length a series
of spaces that differ in sizes, form, or function. In both cases, each space
along the sequence has an exterior exposure

Spaces that are functionally or symbolically important to the organization

can occur anywhere along the linear sequence and have their importance
articulated by their size and form.

The form of a linear organization can relate to other forms in its context by:

Linking and organizing them along its length

Serving as wall or barrier to separate them into two different fields.
Surrounding and enclosing them within a field of space.
 Curved and segmented forms of Linear organizations enclose a field of
exterior space on their concave sides and orient their spaces toward the
center of the field.

RADIAL ORGANIZATION
A radial organization of space combines elements of both centralized
and linear organizations. It consists of a dominant central space from
which a number of linear organizations extend in a radial manner. It is
an extroverted scheme that reaches out to its context

With its Linear arms, it can extend and attach itself to specific elements
or features of its site.
The Central space of a radial organization is generally regular in form.
The Linear arms, for which the Central space is the hub, may be similar
to one another in form and length and maintain the regularity of the
organization's overall form.

The radiating arms can also differ from one another to respond to their
individual requirements of function and context.

A specific variation of a radial organization is the pinwheel pattern

wherein the linear arms of the organization extend from the sides of a
square or rectangular central space. This arrangement results in a
dynamic pattern that visually suggests a rotational movement about the
central space.
CLUSTERED ORGANIZATION
A clustered organization uses proximity to relate its spaces to one another. It
often consists of repetitive, cellular spaces that have similar functions, and
share a common visual trait such as snape or orientation

Repetitive Spaces Sharing common shape

(Same shape, Same sizes) (Same shape, different sizes)
A clustered organization can also accept within its composition spaces that are
dissimilar in size, form, and function, but related to one another by proximity
and a visual ordering device such as symmetry or an axis

Clustered spaces can be organized about e point of entry into a building

Or along the path of movement through it.

The spaces can also be clustered about a large, defined field or volume or space

• A clustered pattern lacks the compactness and geometric regularity.

• The spaces of a clustered organization can also be contained within a
defined field or volume of space.
• Symmetry or an axial condition can be used to strengthen and unify portions
of a clustered organization and help articulate the importance of a space or
group of space within the organization
GRID ORGANIZATIONS
A grid organization consists of forms and spaces whose positions in space and
relationships with one another are regulated by a three-dimensional grid pattern
or field.

A grid is created by establishing a regular pattern of points that define the

intersections of two sets of paraliel lines. Projected into the third dimen-sion, the
grid pattern is transformed into a set of repetitive, modular units of space

SPACE ARTICULATION
KINESTETICS
KINESTHETIC - The sensation of movement or stain in muscles, tendons, joints.

It provides the Westerner with a constant visual, Kinesthetic, and tactile reminder that he is in a different world.

Old Imperial Hotel Tokyo

The changing levels, the circular, walled-in, intimate
stairs to the upper floors, and the small scale are all
new experience
 Wright, an artist in the use of texture, used the
roughest of bricks, then separated them by smooth,
gilled mortar set in from the surface a full half-inch.

Early designers of the Japanese Gardens apparently understood something of the interrelationship between
kinesthetic experience of space and the visual experience,
Japanese learned to make the most of small spaces.
Walking down these halls the guest is almost compelled to run his fingers along
the grooves. The brick is so rough that to obey this impulse would be to risk
mangling a finger. With this device Wright enhances the experience of space
by personally involving people with the surfaces of the building.
The visitor periodically forced to watch his step as he picks his way along
irregulariy spaced stepstones set in a pool. At each rock, he must pause and
look down to see where to step next. Even the neck muscles are deliberately
brought into play. Looking up, he is arrested for a moment by a view that is broken as soon as
he moves his foot to take up a new perch. In the use of interior space, the Japanese keep the
edges of their rooms clear because everything takes place in the middle.
Europeans tend to fill
up the edges by placing furniture near
or against walls. As a conse-quence,
Western rooms often look less
cluttered to the Japanese than they do
to us. In America, the conventional
idea of the space needed by office
employees is restricted to the actual
space required to do the job. Anything
beyond the minimum requirement is usually regarded as a "Frill"
HIDDEN ZONES IN AMERICAN OFFICES
People's reaction to office space reveals that the single most important criterion is what people can do in the
course of their work without bumping into something. Offices provides different spatial experiences. One office
would be adequate, another would not. One example is an employee who had a habit of pushing herself away
from her desk and leaning back in her chair to stretch her arms, legs, and spine.

If the employee touched the wall when she learned back, the office struck her as too small. If she didn't touch
the wall, she considered it ample.
 There are 3 HIDDEN ZONES IN American Offices:
1. The immediate work are of the desk top and chair.

2. A series of points within arm's reach outside the area mentioned above.

3. Spaces marked as the limit reached when one pushes away from the desk to achieve
a little distance from the work without actually getting up.

KINESTHETIC SPACE is an important factor in a day-to-day living in the building that architects and designers
create.
Example: Hotel rooms are too small when a person cannot move around them without bumping into things.
Comparing two rooms, identical in shape and area, the one that permits the greater variety of free movement
will usually be experience as larger. Interior should be improved in the layout, so that people are not always
bumping to each other.

Different cultures have a great differences in spatial needs.

 Far Eastern University Institute of Architecture and Fine Arts
ARCH 1412: Theory of Architecture 1
Module 6 LIGHT, COLOR & TEXTURE

WHAT IS COLOR?
Color for architects is part of a venerable
tradition of books on the theory, history, and
practice of color in architecture.
Color is a perception, the “sensation
produced by light rays that strike the visual
organs and which depends on the
wavelength.”
Ludwig Wittgenstein “How do I know that I
mean the same by the words primary colors
as some other person?”
Without light, there is no color.

THE COLOR WHEEL

The color wheel consists of three primary colors (red, yellow, blue), three secondary colors (colors created when
primary colors are mixed: green, orange, purple) and six tertiary colors (colors made from primary and
secondary colors, such as blue-green or red-violet).
COOL AND WARM COLOR
Draw a line through the center of the wheel, and you'll separate the warm colors (reds, oranges, yellows) from
cool colors (blues, greens, purples).

COLOR THEORY
COLOR
A phenomenon of light and visual perception that may Be described in turns of an individual’s perception of
hue, saturation, and hotness for objects, and hut, saturation, and lightness for light sources.

Hue- Refers to the dominant Color Family of the specific color we're looking at. Hue
refers to the origin of the color we see. Think of the Hue as one of the six Primary and
Secondary colors. In other words, it's the base color of the mixture you're looking at
is either Yellow, Orange, Red, Violet, Blue or Green

TINT A Tint is sometimes also called a Pastel. But to be precise, Color Theory defines
a True Tint as any Hue or mixture of pure colors with only White added. A Tint is
sometimes also called a Pastel. But to be precise, Color Theory defines a True Tint as
any Hue or mixture of pure colors with only White added.
 TONE Color Theory defines a True Tone as any Hue or mixture of pure colors with
only Gray added. Toned colors are generally considered more pleasing to the eye.
They are complex, subtle and sophisticated.

SHADE Color Theory defines a True Shade as any pure Hue or mixture of pure colors
with only Black added. In other words, it contains absolutely no White or Gray. Shade
can range from slightly darker than your original color, all the way to nearly Black with
barely any of the color mixed in.

LIGHTING DESIGN
Architecture is the learned game, correct and magnificent, of forms assembled in the light. (Le Corbusier)
"A ROOM IS NOT A ROOM WITHOUT NATURAL LIGHT." Louis Kahn
Light as a Creative Medium
Light is a creative medium. ..the most powerful of all. Most of what we know of our world comes to us through
our eyes, and we have learned that the way we see things depends on how they are lighted.
Light in Design-Bringing the Vision to Life
This application guide shows how lighting makes a difference- a practical and creative guide to the process of
designing with light. It concentrates on three essential choices:
1. What to light
2. How to light it
3. What to light it with

Cornice Light Drop Ceiling Light

As a first step in planning your lighting. analyze each space in terms of

• Function: What activities will occur in the space?

• Tasks: What seeing tasks are to be done in the space?
• Objects: Which ones do you most want people to see?
• Architectural features: Which ones are to be emphasized?
• Location of furniture: Where will people sit?
• Mood: What atmosphere is desired? Should it be variable?
• Style: What must the lighting "go with"
How to light it
Once you have analyzed the space and decided what to light. you can decide how to best light it, using three
basic lighting techniques
Ambient lighting general. overall illumination that:

• Enables one to move about easily and safely

• Defines the space

• Makes the room seem larger

• Makes the space more comfortable by balancing the brightness of surfaces and objects in the field of
view.
General lighting that brightens objects and surfaces in the lower part of the room creates a feeling of warmth
and intimacy. whereas indirect lighting. directed to the upper walls and ceiling. gives the space a cooler. quieter.
more spacious look.
Accent lighting -light to view what's special
Accent lighting directs extra light and thus extra attention to selected objects and surfaces. Accent
lighting draws the eye. provides dramatic interest. and adds excitement. It says. "Look here!"
Task Lighting_-light to work by
Task lighting illuminate areas where work is performed: reading. paper work. food preparation. laundry.
games and hobbies. Paper work and reading generally require plentiful, well-diffused light coming from over
the shoulder or from the side. For kitchen and hobby tasks. a concentrated light from above usually works best.
Where to place the lighting
A key element in how to light is where to place the lighting. This is especially important in avoiding glare and
veiling reflections. It is also a determining factor in whether a surface texture is to be emphasized or minimized.
It can, in the case of lighting close to the wall ("grazing" rather than "washing" -see diagram below) reveal
defects in the workmanship.

How much light is required?

The amount of light required for good vision depends on:

• The age of the people using the lighting

• The reflectance of the task
Older people require more light. (at age 65 we need twice as much light to see as well as we did at age 20) and
are much more sensitive to glare. so lighting must not only be plentiful. but well shielded.
The table below shows recommended levels of illumination. In each case a range is indicated--the low value
being for young people under 25. the middle value for 25-65 years old. and the high value being for older persons
over 65.
Recommended illuminance targets in footcandles

Area or activity Under 25 25-65 Over 65

Passageways 2 4 8
Conversation 2.5 5 10
Grooming 15 30 60
Reading/Study 25 50 100
Kitchen Counter 37.5 75 150
Hobbies 50 100 200

TEXTURE DESIGN
In a painting, a colored surface may appear to be closer or farther away from the picture plane, a phenomenon
known as color kinetics.

Actual Texture
• The application of textured objects to the
surface of an artwork, or the creation of art
from textured materials
• Texture can be created by carving, incising or
scratching into a surface
• The creation of visible texture in an artwork
from the application of found or
manipulated textured materials.
For example, the application of rows of shells to a
headdress to create the illusion of hair texture.
Visual /Simulated Texture
• Visual texture so realistic that it fools the eye
into believing it is reality.
• The visual sensation of texture on a non-
textured surface. Simulated textures are created
by the manipulation of lights and shadows, line,
rhythm and other visual elements.
• Simulated texture can be achieved using a
variety of media such as pencil, pen, paint,
photography and computer generated imagery

Invented Textures
• Invented textures are the creation of the
artist/designer.
• They are made up for expressive or decorative
purposes and are not the representation of or
abstractions from actual textures.