PLANNING 1

AESTHETIC AND PHYSICAL

CONSIDERATIONS
(SENSUOUS QUALITIES)

SUBMITTED BY:EDHEL DE QUIROZ

BSARCH 3

SUBMITTED TO:AR.RYAN ORTIGAS UAP.

• The sensed quality of a place is an
interaction between its form and its perceiver
,sensuous requirements may coincide or
conflict on other demands but cannot be
separated from them judging the place. They
are not impractical or merely decorative
• .Perception esthetic experience ,
where the dialogue perceiver and
object is emediate,intense and
profound,seemingly detached
from other consequences .But is
also an indespensable component
of every-day life.
• Sensed interaction helping the
perceiver to create
coherent,meaningful,and moving
image.
 HISTORIC STYLES
• There are different ways of
understanding old buildings. They
can be seen as examples of
specific building types, which are
usually related to a building’s
function, such as schools,
courthouses or churches.
Buildings can be studied as examples of
using specific materials such as

• concrete, wood, steel, or limestone

They can also be considered as

examples of an historical period, which
is often related to a specific
architectural style, such as
• Gothic Revival farmhouses, one-story
bungalows, or Art Deco apartment
buildings.
• There are many other facets of an
historic building besides its functional
type, its materials or construction or
style that contribute to its historic
qualities or significance.

• Some of these qualities are feelings

conveyed by the sense of time and
place or in buildings associated with
events or people.
 Shape

• The shape of a building can be an important

aspect of its overall visual character .

• The building have other visual aspects that

help define its overall character, including
the pattern of vertical bands of windows,
the decorative horizontal bands which
separate the base of the building from the
upper floors, the dark brown color of the
brick, the large arched entranceway, and
the castle-like tower behind the building.
Opening

• The opening dominates the visual

character of the building because of its
size, shape, location, materials, and
craftsmanship. Because of its relation to
the generous staircase, this opening
places a strong emphasis on the principal
entry to the building. Enclosing this
arcade-like entry with glass, for example,
would materially and visually change the
character of the building.
This building pictured on the left has a
number of character-defining aspects which
include the windows and the decorative
stonework, but certainly the roof and its
related features are visually important to its
overall visual character
• The roof is not only highly visible, it has
elaborate stone dormers, and it also has
decorative metalwork and slatework. The red
and black slates of differing sizes and shapes
are laid in patterns that extend around the
roof of this large and freestanding building.
Any changes to this patterned slatework, or
to the other roofing details would damage the
visual character of the building
• PROJECTING PORCH OR BALCONY can be
very important to the overall visual character
of almost any building and to the district in
which it is located.
• the wooden TRIM on the eaves and around
the porch that gives this building its own
identify and its special visual character.
• SETTING contributes to overall
character of even architecturally
modest buildings. In very urban
district, setbacks are the exception, so
that the small front yard is something
of a luxury, and it is important to the
overall character because of its design
and materials.
• By the surface qualities of the
MATERIALS AND CRAFTMANSHIP
determines the visual character and
while these aspects are often
inextricably related, the original choice
of materials often plays the dominant
role in establishing the close range
character because of the color,
texture, or shape of the materials.
• CRAFT DETAILS dominates the arm’s
length visual character on many
instances.
• Perceiving the character of interior
spaces can be somewhat more difficult
than dealing with the exterior
• Characters of the INDIVIDUALLY
IMPORTANT SPACES, is a combination of
its size, staircases, the massive columns and
curving vaulted ceilings, in addition to the
quality of the materials in the floor and in the
stairs.
• If the ceiling were to be lowered to provide
space for heating ducts, or if the stairways
were to be enclosed for code reasons, the
shape and character of this space would be
damaged, even if there was no permanent
physical damage.
• Many buildings have interior
spaces that are visually or
physically related so that, as you
move through them, they are
perceived not as separate spaces,
but as a sequence of RELATED
SPACES that are important in
defining the interior character of
the building.
The example which is illustrated here consists
of two spaces that are visually linked to each
other
• INTERIOR FEATURES are three-
dimensional building elements or
architectural details that are an
integral part of the building as
opposed to furniture. Interior
features are often important in
defining the character of an
individual room or space.
• visual character of historic
interior spaces one should not
overlook the importance of those
materials and finishes that
comprise the SURFACE OF
WALLS, FLOORS AND CEILINGS.
The surfaces may have evidence
of either handcraft or machine
made products that are important
contributors to the visual
character
if feature of the STRUCTURAL
SYSTEM are exposed,such as load-
bearing brick walls, cast iron columns,
roof trusses, posts and beams, vigas,
or stone foundation walls, they may be
important in defining the building’s
interior visual character.
• “FOCAL POINT" force the viewer’s
perspective to a particular location. Such
"focalization" gives a design a sense of
purpose and order, without which a
landscape is just a careless collection of
plants and other objects (or empty space).
Either plants or hardscape features
(including decorations, yard art, etc.) can
be used to serve this purpose.
 VIEWPOINTS

• means to focus on particular

aspect of architecture.
• Design for the purpose of
communicating certain aspct of
an architecture.
 VISTA
• Virtual Platform Automotive Instrument
Cluster Application

• The Vista Flow consists of the steps

typically used by SoC Architects,
hardware engineers and software
engineers to create TLM Models,
assemble and configure the system,
simulate, verify and debug, analyze and
optimize performance and power and
integrate with software.
 Character and rhythm of visual sequences

• Our perception of time is affected by the modality in which it is

conveyed. Moreover, certain temporal phenomena appear to exist
in only one modality. The perception of temporal regularity or
structure (e.g., the 'beat') in rhythmic patterns is one such
phenomenon: visual beat perception is rare.

• The modality-specificity for beat perception is puzzling, as the

durations that comprise rhythmic patterns are much longer than
the limits of visual temporal resolution. Moreover, the optimization
that beat perception provides for memory of auditory sequences
should be equally relevant to visual sequences.

• One possibility is that the nature of the visual stimulus plays a role.
Previous studies have usually used brief stimuli (e.g., light flashes)
to present visual rhythms. In the current study, a rotating line that
appeared sequentially in different spatial orientations was used to
present a visual rhythm.
• Discrimination accuracy for visual rhythms and
auditory rhythms was compared for different types of
rhythms.

• The rhythms either had a regular temporal structure

that previously has been shown to induce beat
perception in the auditory modality, or they had an
irregular temporal structure without beat-inducing
qualities.

• Overall, the visual rhythms were discriminated more

poorly than the auditory rhythms. The beat-based
structure, however, increased accuracy for visual as
well as auditory rhythms. These results indicate that
beat perception can occur in the visual modality and
improve performance on a temporal discrimination
task, when certain.
 Quality and variation of light and sound,
smell and feel
• Light and sound
• Sound quality is typically an assessment of the accuracy, enjoyability,
or intelligibility of audio output from an electronic device. Quality can
be measured objectively, such as when tools are used to gauge the
accuracy with which the device reproduces an original sound; or it
can be measured subjectively, such as when human listeners respond
to the sound or gauge its perceived similarity to another sound.

• The sound quality of a reproduction or recording depends on a number

of factors, including the equipment used to make it, processing and
mastering done to the recording, the equipment used to reproduce it,
as well as the listening environment used to reproduce it. In some
cases, processing such as equalization, dynamic range
compression or stereo processing may be applied to a recording to
create audio that is significantly different from the original but may be
perceived as more agreeable to a listener. In other cases, the goal
may be to reproduce audio as closely as possible to the original.
• When applied to specific electronic devices, such
as loudspeakers, microphones, amplifiers or headphones sound
quality usually refers to accuracy, with higher quality devices
providing higher accuracy reproduction. When applied to processing
steps such as mastering recordings, absolute accuracy may be
secondary to artistic or aesthetic concerns. In still other situations,
such as recording a live musical performance, audio quality may
refer to proper placement of microphones around a room to
optimally use room acoustics.

• Light does not really affect sound. Sound is made of vibrations (aka
rapid pressure fluctuations) in air, water, or solid material. Light is
made of vibrations in the electric and magnetic fields. Now, the
timescale (for example, the oscillation speed or the wave speed) for
light is much faster than that for sound, so sound doesn't even notice
when light is around.
 Tastes and Odors
• Both taste and odor stimuli are molecules taken in from the
environment. The primary tastes detected by humans are sweet,
sour, bitter, salty, and umami.

• All odors that we perceive are molecules in the air we breathe. If a

substance does not release molecules into the air from its surface, it
has no smell.

• If a human or other animal does not have a receptor that recognizes

a specific molecule, then that molecule has no smell. Humans have
about 350 olfactory receptor subtypes that work in various
combinations to allow us to sense about 10,000 different odors.
Compare that to mice, for example, which have about 1,300 olfactory
receptor types and, therefore, probably sense many more odors.
• The senses of smell and taste combine at the back of the throat.
When you taste something before you smell it, the smell lingers
internally up to the nose causing you to smell it. Both smell and
taste use chemoreceptors, which essentially means they are both
sensing the chemical environment.

• This chemoreception in regards to taste, occurs via the presence of

specialized taste receptors within the mouth that are referred to as
taste cells and are bundled together to form taste buds. These taste
buds, located in papillae which are found across the tongue, are
specific for the five modalities: salt, sweet, sour, bitter and umami.
These receptors are activated when their specific stimulus (i.e.
sweet or salt molecules) is present and signals to the brain.
• In addition to the activation of the taste receptors, there are similar
receptors within the nose that coordinates with activation of the
taste receptors. When you eat something, you can tell the difference
between sweet and bitter.
• It is the sense of smell that is used to distinguish the difference.
Although humans commonly distinguish taste as one sense and
smell as another, they work together to create the perception of
flavor. A person’s perception of flavor is reduced if he or she has
congested nasal passages.
 Uniform distribution of taste receptors (the myth of the tongue map):
Humans detect taste using receptors called taste buds. Each of these
receptors is specially adapted to determine one type of taste sensation.
Recent evidence suggests that taste receptors are uniformly distributed
across the tongue; thus, this traditional tongue map is no longer valid.
• The end!!

• Thank you....
 1. force the viewer’s perspective to a
particular location.
a.Viewpoint
b.Focalpoint
c.Corepoint
d. Vanishing point
 2. It is an interaction between its form and its
perceiver ,sensuous requirements may coincide or conflict on
other demands but cannot be separated from them judging the
place.

• A. The interelationship of things

• B. The reaction between forms
• C. The perception of time
• D. The sense quality of place
 3. The _____ of a building can be an important aspect of its overall visual
character .

• A. Form
• B. Shape
• C. Structure
• D. Design
4. They can also be considered as examples of an
historical period, which is often related to a
specific architectural style.

• A. Buildings
• B. Structures
• C. Shapes
• D formations
 5. The _____ dominates the visual character of
the building because of its size, shape, location,
materials, and craftsmanship.

• A. Closure
• B. Opening
• C. Entrance
• D. Facade
 6. The roof is not only highly visible, it has
elaborate stone dormers, and it also has
decorative metalwork and slatework.

• A. Doors
• B. Windows
• C. Roofs
• D. Walls
7. It can be very important to the overall visual
character of almost any building and to the
district in which it is located.

• A. Living rooms
• B. Facade
• C. Hallways
• D. Balcony
 8. Contributes to overall character of
even architecturally modest buildings.

• A. Setting
• B. Position
• C. Formation
• D. Design
 9. By the surface qualities of the _____
and ______ determines the visual
character
• A. Forms and uniqueness
• B. Materials and craftmanship
• C. Design and concept
• D. All of the above
 10. It dominates the arm’s length visual character on
many instances.

• A. Shape formation
• B. Building characteristics
• C. Forms details
• D. Craft details
 11. These are three-dimensional
building elements or architectural
details that are an integral part of
the building as opposed to
furniture.

• A. Interior features
• B. Exterior features
• C. Spacing features
• D. Building features
 12. It means to focus on
particular aspect of architecture.
• A. Centerpoint
• B. Viewpoint
• C. Midpoint
• D. Corepoint
13. It has either had a regular temporal
structure that previously has been
shown to induce beat perception in the
auditory modality, or they had an
irregular temporal structure without
beat-inducing qualities.
• A. Beat
• B. Sound
• C. Rhythm
• D. Bass
 14. It is typically an assessment of
the accuracy, enjoyability, or
intelligibility of audio output from an
electronic device.
• A. Waves differences
• B. Beat accuracy
• C. Audio Output
• D. Sound quality
 15. Is it true that light does affect sound?

• A. True
• B. Not true
• C. It depends
• D. None of the above
 16. Both smell and taste uses this, which
essentially means they are both sensing the
chemical environment.

• A.chemoreceptors
• B. Choreoceptors
• C. Crynoceptors
• D. Chomeroceptors
 17. On the tastebuds in our tounge,
color blue represent what kind of
taste?
• A. Bitter
• B. Sour
• C. Sweet
• D. Salty
 18. On the tastebuds in our tounge,
color yellow represent what kind of
taste?
• A. Bitter
• B. Sour
• C. Sweet
• D. Salty
 19. On the tastebuds in our tounge,
color red represent what kind of
taste?
• A. Bitter
• B. Sour
• C. Sweet
• D. Salty
 20. On the tastebuds in our tounge, color
green represent what kind of taste?
• A. Bitter
• B. Sour
• C. Sweet
• D. Salty
• 1. B • 11. A
• 2. D • 12. B
• 3. B • 13. C
• 4. A • 14. D
• 5. B • 15. B
• 6. C • 16. A
• 7. D • 17. A
• 8. A • 18. B
• 9. B • 19. C
• 10. D • 20. D