Significance of Basic Design Elements in Spatial and Cultural Environment of Built Forms

International Journal of Trend in Scientific Research and Development (IJTSRD)
Volume 5 Issue 4, May-June 2021 Available Online: www.ijtsrd.com e-ISSN: 2456 – 6470
@ IJTSRD | Unique Paper ID – IJTSRD42473 | Volume – 5 | Issue – 4 | May-June 2021 Page 917
Significance of Basic Design Elements in
Spatial and Cultural Environment of Built Forms
Dr. Mukesh Kumar Lalji1, Dr. Amogh Kumar Gupta2, Dr. Sheetal Sharma3
1Vice-Principal, Department of Technical Education, Employment and Skill Development,
M. P. Govt. S. V. Polytechnic College, Bhopal, Madhya Pradesh, India
2Professor and Head of Department, Institute of Architecture,
SAGE University Indore& Chairman BOG, SPA, Delhi, India
3Professor and Dean, School of Architecture, Vellore Institute of Technology University,
Bhopal, Madhya Pradesh, India
ABSTRACT
Built form in any Organization carries the essence of any design and doing
nothing is also a form of design. Elements of Design needs to be carefully
studied and applied to creation of any space. Design sometimes suffers froma
dilemma about its identity. It is not solely either an art or a science but is a
combination of both. Applied design is not like physicsorbiologyorwritingor
painting, but; it involves these areas and more. Design tends towards a
generalized approach, collecting specifics from diverse areas as needed.
Design is a combination of art, science, technology and intuition. Design does
contain sound proven principals and criteria for judging its success. It is a
combination of ideas, methods, deliverables,forms,functionsandappearance.
These criteria centre on the relationship between human needs and human
environmental possible. The measure of the success of a particular applied
design is how well it meets the needs of the people experiencing it.
This paper discuss about the elements of design and the techniques used to
incorporate them in ideal spatial creation. Balance and Positive combinations
of form and functions
KEYWORDS: Light, Colour, Form, Function, Space, Art, Architecture
How to cite this paper: Dr. Mukesh
Kumar Lalji | Dr. Amogh Kumar Gupta |
Dr. Sheetal Sharma "Significance of Basic
Design Elements in Spatial and Cultural
Environment of Built
Forms" Published in
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ISSN: 2456-6470,
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1. INTRODUCTION:
The introductory foundation of art and designdealswiththe
elements and principals of design composition. It entails a
brief knowledge of Indian religion, traditional and
contemporary art and their uses in home. It also gives
experience in freehand drawing, scale drawing, knowledge
of law of field size and creating designs of art objects. Design
is very much a part of our daily lives, it is found in nature as
well as in man-made environment. Shapes, forms, colours
texture etc. all combine to become a unify whole, which is
commonly called “a design” arrangements one becomes
aware of shapes, form, colour and texture. When each
individual part (element), unifying in its own way, has
carefully been placed together with all the other parts, it
results in a unifying and beautiful whole (one design).
Designing then is the act of arranging things to create a
single effect. In designing the “elements” are the things we
work with and the principals are what we do with them
(elements).Space, line, shape, form,colour,valueandtexture
are the elements with which artist work at create a design.
The principal such as- balance, movement, repetition,
emphasis, and contrast are ‘what’ artists do with the design
elements to make a pleasing and satisfying “art form”
2. ELEMENTS OF DESIGN
Brief introduction of the Design elements like:
Space,
Line,
Shape,
Light,
Texture,
Form and
Colour
2.1. SPACE
Space is an element which surrounds us. It is plastic, in that
it stretches to infinity, can be compressed into the most
minute crevice and, yet exists only as a concept.Spacecanbe
experienced two and three dimensionally and it is a vital
part of design.
The effect of space varies with its application. An airplane
moving across the sky is surrounded by space and a sense of
openness & freedom exists. But what about the feeling of
space in a crowded elevator? Space is there but the effect is
entirely different. Forms have substance and they occupy
space. This occupied space is known as Positive Space.
Unoccupied or empty space is known as Negative Space. In
works of art, the negative area plays a part as important to
the whole design as the positive areas.
IJTSRD42473

International Journal of Trend in Scientific Research and Development (IJTSRD) @ www.ijtsrd.com eISSN: 2456-6470
Figure 1 Feeling of Space in room with opening
Figure 2 Feeling of Space in room with wall
A flat surface has only two dimensional spaces which mean
that, it has length and width but no depth. A canvas, on
which an artist works, is flat surface and is called a picture
plane. It is not possible to create actual depth or spaceinthis
picture plane, but an illusion of space, distance or depth is
possible. Depth can be suggested with the use of converging
lines. Parallel lines, as they move away into the distance,
appear to come closer together, thus creating the illusion of
distance and depth.
Colours also have an effect on space. Warm or brightcolours
appear to be closer to the picture plane, whereas cool ordull
colours tend to reach into the distance. When parts or areas
of a flat picture plane are physically projected into space, a
third dimensional form is created.
2.2. LINE
Line plays an important role in design. A line can simply bea
mark or dot or point made by a pen or it can be any
continuous mark which causes your eye to follow along its
path. In design, line specifically refers to an actual or an
implied mark, path, mass or edge, where length is dominant.
Eyes readily travel along a line because a line is longer than
it is wide.
A line moves, and when it does so, it indicates direction by
travelling in a path that leads somewhere – up, down,under,
around, through, back, forward, left, right, into, over,
diagonally, across etc. Frequently,lineswhichtravel inmany
different directions at one time create an entirely different
illusion than a single directional line. A single directional
strength line leads the eye swiftly across the picture plane.
Lines appear in different ways. There are curved lines,
straight lines or a variation of the two. They can be long,
short, thick, thin, sharp, light, dark, simple, orcomplex.Lines
can be broken and yet have direction.
They can be textured and coloured. A bold line indicates a
feeling of power & confidence. Fine lines project a feeling of
sensitivity; timidness; unsurely; distance etc.
2.3. SHAPE
Whenever we use a line to enclose an area, we create a
shape. Also a combination of lines, results inshapes.Ways to
recognize shapes are through difference in colour, value or
texture between a shape and the area around it. A shape or
figure is called a positive shape and occupies positive space.
The area surrounding a shape is called the background/
foreground as the case may be. It is called a negative shape
and occupies negative space.
The shape of the fish is clearly distinct against the
background because the line of the edges is sharply defined.
Frequently, shapes are not clearly defines with sharp, hard
edges, and it is more difficult to see where the shape ends
and the background begins. There are all kinds of shapes –
solid or opaque, linear, textured, coloured and outlined.
Shapes can be transparent, revealing still other shapes
behind them. Shapes may be party covered by other shapes
may touch other shapes or stand alone. There are shapes
within shapes and shapes around shapes. Similar shapes
need not necessarily be identical, yet they can have a
common relationship, which visually ties them together.
Contrasting shapes differ from each other; dependingonthe
treatment they have been given. Some shapes will command
more attention than others, depending on their size, colour,
value, texture, detail or their location. Shapes can promote
new feelings and awaken old ones by making one relate to
what is known and felt about your own environment for
example, tall shapes are elevating. Solid shapes appear to be
stable. Long flat shapes express calmness, and directionally
downward shapes activate the sense of falling. Shape refers
to the edge contour of a plane or the silhouette of a volume.
It is the primary means by which we recognize and identify
the form of an object. Since it is seen as the line that
separates s form from its background, our perception of a
form’s shape will depend on the degree of visual contrast
between the form and its background.
Figure 3 Stable, Unstable Shapes
Figure 4 Shape forming to get recognized.

In architecture, we are concerned with the shapes of:
Planes (floors, walls, ceiling) that enclose space.
Openings (windows and doors) within a spatial
enclosure
2.4. LIGHT
Light has different meaning for different people. To the
physicist, it is a form of energy known as electromagnetic
energy. To humans, light is a sensation or perception. There
are two kinds of light – light from natural sources (primarily
the sun) and light from artificial sources (primarily candle,
fuel & electrical).
There are three sets of interdependent requirements for
adequate lighting. First, there is the functional requirement
exacted in interest of securing adequatelightforthephysical
task of seeing. Then, there is the psychological requirement
that, lighting contributesitssharetowardsthe establishment
of the atmosphere of space. Lastly, there is the design
requirement for good lighting. IN the fulfillment of this
requirement, the light must enhance the visual design of the
object directly. All of the above must be synchronized in
order to obtain good and adequate lighting.
Figure 5 Light from Artificial Source in a corridor
Figure 6 Light from natural Source
Figure 7 Artificial Light
2.4.1. Effect of light on colour and texture:
Direct and indirect lighting, whether artificial or natural,
have definite effect on the total value of the colour e.g. direct
light on any colour will look dim or dull in the tonal values.
2.4.2. Reflection of light
To a large extent the colours used in decoration and the
lighting schemes must be interrelated since the reflection of
light from various surfaces will affect the overall level of
illumination in the room. This is of considerable importance
in an area such as a kitchen or server and counter where
lighting is primarily considered as a functional requirement,
but is often of less significance in a restaurant where the
lighting is also used as an element of design.
Light reflection from a surface will depend on the hue –
colour in the sense of red, green, blue and so on; value –
lightness ranging from 0 (black) to 10 (white); andchrome–
saturation or intensity expressed from 0 (neutral) to 16
(strongest colour).Under the Munsell system (BS 2660:
1955) each colour is given a designing based on these scales
and the percentage reflectance of light from a surface can be
determined from the Munsell value using the following
formula:
Percentage Reflection = Value x (value – 1)
The way in which light is reflected from a surfacewill alsobe
affected by the concentration and direction of lightfallingon
it and by its nature – i.e. whether a matt or gloss finish.
2.5. TEXTURE
Texture is the quality of a surface, whether it is smooth,
rough, dull (malt) or glossy. We are able to observe texture
visually, through sight and the sense of touch. The variety of
reaction that is activated by touch is unlimited. Consider
your own sensual reaction when you touch a feather and
compare it to the sensation you feel when you touch a
pineapple.
Similarly, a different textures surface, painted withthesame
colour, creates interest because – tonal variations, due to
smooth textures and rough textures surfaces, give brighter
and darker tonal values, e.g. Sand-faced plaster and rough
cast plaster wall painted with same colour will givedifferent
tonal values and different colour shades. Visually, texture
can convey (I) richness as in silk against jute, (ii) harshness
such as rough cast plaster against smooth plaster or rough

against smooth stone and (iii) fineness such as granite
against marble or polished wood. Texture gives character to
the design and it creates interest in appearance at the same
time breaking the monotony.
2.6. FORM
Form shapes the space in which we line, by establishing its
limits.
Form defined as three dimensional shape,massorstructure,
is the most inclusive and unchanging element of our usual
world. Form is a word of many meanings, one to the
accountant, and other to a lawyer, and another to the
magician and so on. It is nothing definite buttothearchitects
or interior designers, what you can see as a structuresuchas
a door, which may be rectangular or door with an arch. Is a
form. Similarly so many examples can be quoted and it can
be seen as if it resembles a number of forms of natural things
like flowers, leaves, trees, mountains, clouds, sun, stars etc.
Form can be of any material – steel, concrete, brick, wood,
glass, plaster, or combinations of these. There are only three
basic forms: Plastic, Skeletal and Planner.Eachofthese basic
forms might be rectilinear or curvilinear. If the form is
rectilinear, its planes or solids are flat – like a square box –
but if the form is curvilinear, its planes or solids are curved
like a round box. Designers refer to certain forms as hard or
soft. They are not referring to the material of the form but to
their shapes. Hard forms have sharp edges whereas soft
forms do not have sharp edges but, may have the curved or
chamfered corners.
Figure 8 Plastic, Skeletal and Planner Form.
Plastic form is not the material but it is a solid structure
with minimum small sized punctures.
Skeletal form is one where in the frame-work is made
prominent.
Planner form is an interlocking of horizontal, vertical or
inclined planes of the structure.
In interior designing, where it is combination of art, science,
technology & intuition, the design of the furniture or space
must be such that, it can be very comfortably activity. One
must keep in mind that form must follow function and not
vice versa.
This phrase simply means that, the designofanobjectgrows
out of its purpose. The utilitarian function of the table forks
and spoons is to carry food from the dishes to the mouths;of
chairs to provide comfortable support to bodies in sitting
position; of chests of drawers to store clothes; of walls and
ceilings to provide enclosing protections and of windows to
bring light and air into the house. Nearly everything in the
house serves a specific useful function and that function is a
basic consideration in its design.
2.7. COLOUR
This is one of the most important elements, which bring life,
beauty (aesthetics), mood, emotion and character to the
design.
Since the beginning of time, colour in the world, at large has
made a definite impression upon the human receptive
nature. The systematic study of this subject, however, is a
comparatively young science. It deals with influence in
almost every part of human experience. Right from the
colour of the handle of one’s toothbrush to the festival of
colour named. Holi, which is celebrated with great
enthusiasm in India, clearlyindicatetheutilizationofcolours
in the stimulation of life and growth.
What is colour? It is a sensation which causes stimulation of
the eye. The white light, we see as daylight, is made up of all
the colours of the rainbow. It is the mixture of light waves of
different wavelengths that create a white look.
2.7.1. IMPORTANCE OF COLOUR:
Colours play a vital role in our lives in atmosphere andmake
it more interesting to live in. What about the effect of colour
on our mood? Imagine the colour of a clear, bright blue sky
on a cool, crisp day, which quickens our emotional response,
and compare it to a dull, overcast grey sky. The firstsuggests
cheerfulness and the latter, a feeling of somberness and
sadness.
2.7.2. EFFECT OF COLOUR ON HUMAN MINDS:
Think about the psychology of colour ted walls seems to
move forward: blue walls recede. It is does not work foryou,
do not worry. It’s never been proven. Thereason? Peopleare
different, confronted with a red wall; one person reacts
differently from another person with different experiences
and sensitivities.
If you are told a colour is fiery red, the colour would seem
hot to you. If someone labels a colour cool green, you will
probably believe it. It is not to so much a ca case seeing
believes as it believes is seeing. A suggestive label leads to
believing. A suggestive label leads to believing. But this does
not necessarily mean everyone will see it that way. What is
important is how you see colours.
Besides emotional, colours have physical effects as well. A
cotton judging establishment served a district consisting of
several plantations. One year, the crops produced a much
lower grade of cotton, the grading being determined by its
whiteness, inspite of there being no change in seed, soil or
rainfall. Someone finally solved the mystery. Thelargenorth
windows of the cotton laboratory faced a high wood fence.
During the year the fence had been painted red. Red
reflected into the laboratory making the cotton appear less
white than normal and therefore of poorer quality due to its
reddish tint.
Figure 9 Colour Spectrum - Light and Pigment Colours

2.7.3. Sources of Colour
Colour in a restaurant or lounge may be created by three
main techniques:
Coloured lights illuminating a white or neutral screen,
draperies or background;
Coloured lamp shades over tables and other areas; and
Colours in the decoration and furniture producing
reflection effects.
The first method has limited application but provides the
advantage of versatility since the positions of the lamps, the
direction of the light, the colours used and the position and
shape of the background curtains or draperies can all be
modified to create animation and interest and this principle
can be applied with fascinating results on water fountains
and waterfalls.
Coloured lamp shades are a useful way of producing local
colour – for instance a pool of colour around a table, or over
an alcove. However, this must be applied with caution and
used only in local areas of neutral tones (black, grey and
white). The effect of coloured light falling on a surface of
another colour is to reflect only the chrome which is
common to both. If the colours are in contrast the surface
will simply appear black or grey.This effect of lighting on
colour is also important when a restaurant changesfromthe
use of natural lighting in the day time to artificial
illumination in the evening, particularly where fluorescent
lighting is used.Most of the colour and contrast in a room is
introduces in the decoration of the walls and ceilings, and in
the carpet, curtains and upholstery of chairs. Coloured table
cloths and place mats will also provide splashes of local
colour by reflection of light.
2.7.4. Colour Combinations
The range of colours which forms the spectrumincomposed
of three types:
1. Primary colours – red, yellow and blue;
2. Secondary colours – produced by mixing two of the
pigments of primary colours in equal proportions
(orange = red plus yellow, green = yellow plus blue,
purple = blue plus red) ; and
3. Tertiary colours – formed by mixing a primary and
secondary colour, the effect depending on the
proportions used (e.g. blue plus green = turquoise).
The intensity of chrome of a colour can be modified by
adding black, grey, or white to produce different tones.
Shades are colours mixed with black or grey and tints are
colours lightened by white (i.e. pastels).
Colours can be represented as a circle to show their
relationships and effects:
Figure 10 Colour wheel
The colours to the left lend to be dark or heavy while those
to the right are light with a high reflective value. Colours on
opposite sides of the circle are contrasting or
complementary while those adjoining each other are said to
be in harmony. A strong pure colour – one with high chrome
– tends to dominate over larger areas of tinted pale or
neutral colours, and can be usedtohighlightspecificfeatures
of design or pattern. Similarly, metallic paints or films such
as gilding can be used on prominent features to reflect light
and sparkle.
2.8. Effect of Colour
Most colours tend to produce psychological responses
mainly because of familiar associationswiththosecolours in
other areas and because of the effects of each particular
stimulation of the sensory nerves of the eye.
Blues and greens from a natural backgroundrole(sky,grass,
trees) and tend to be seen as cool, relaxing and soothing
colours which make the surface recede. Theyarelessquickly
and easily discerned in detail, and should be used in pure or
pastel tones rather than grey shades. Dark blue is inclined to
be oppressive (night) and should preferably be limited to
small areas of detail. Having regard to the weather these
colours are of limited application in restaurant design in
northern climates and should not be used in rooms with a
north aspect.
Oranges, reds and yellows (sunshine, heat, fire) are by
contrast warm stimulating gay colours tending also to
advance sociable environment. These colours tend also to
advance surfaces, making a room appear smaller and more
intimate. The reflection of red tints has a flattering effectand
tends to emphasis the richness and freshness of meat.
Brilliant hues of these colours, however, must be used with
caution. Against a background ofdirectcontrast,forexample
red against green, the prolonged effect may be to produce
dazzle and flickering in the eye. The sensitivity of the eye to
brilliant colours such as red tires quickly and this visual
fatigue tends to distort the appearance of other colours by
emphasizing those in direct contrast. In a situation where
there is a high turnover of occupancy-such as in snack bars-
bright colours may be attractive but in othersituationssome
toning down or the larger areas- by dilution into shades and
tints – is often desirable without detracting from the other
benefits.
Violet has almost the opposite effect of yellow, tending to
produce an unreal sensation ofwithdrawal andescapism. On
the other hand purple is a rich impressive colour (royalty)
and is very effectively used in decoration features with gold.
A mixture of intense colours tends to heighten the tension.
Neutral shades such as cream and grey blend unnoticeably
into the background. This effect is most desirableina setting
of elegance and simplicity where sufficient contrast in
achieved by colours andpatternsinthefurnishing,paintings,
flowers, etc, and food.Black and white is employed mainlyin
the furniture and furnishing to contrast with other colours,
and may be used to separate different areas of colour
schemes. White tablecloths also emphasis the colour
contrasts of food and wine.Special effects may also be
introduced to emphasis features and details or to provide
focal points of interest and entertainment. Examplesinclude
stained glass and colouredmosaics which are often used in
lounges and bars to add colour and sparkle, metallic colours
or tints to impart sheen, and gilding carefully placed to
reflect light.

3. STUDY OF COLOURS
3.1. Classification of Colours:
1. Primary Colours
2. Secondary Colours
3. Intermediately Colours
4. Tertiary Colours
5. Quaternary Colours
Figure 11 Classification of Colours
3.1.1. PRIMARY COLOURS
Red, Yellow and Blue are called primary colours. The term
primary or basic is used because we cannot get them by
mixing other colours. They occur in either natural or man-
made pigments. By mixing a range of primary colours, we
can get many other colours. All colours stem from these
primary colours.
Figure 11 Primary Colours
Figure 12 Intermediate Colours
3.1.2. SECONDARY COLOURS
Whenever two primary colours are added in equal
proportions a Secondary Colour is obtained.
50% Yellow + 50% Red = Orange
50% Red + 50% Blue = Violet (Purple)
50% Blue + 50% Yellow = Green
3.1.3. INTERMEDIATE COLOURS
When a primary colour anditsadjacentsecondarycolourare
mixed in equal proportions, we get an intermediate colour.
1. Yellow + green = yellow green
2. Red + orange = reddish orange
3. Blue + green = bluish green
4. Yellow + orange = yellowish orange
5. Red + violet (purple) = reddish purple (violet)
6. Blue + violet (purple) = bluish purple (violet)
Figure 13 Secondary Colours
3.1.4. TERTIARY COLOURS
When two secondarycolours aremixedin equal proportions,
they form a neutralized primary colour i.e. Tertiary colours
orange + green = neutralized primary Citron yellowish gray.
3.1.5. QUARTERNARY COLOURS
When two tertiary colours are mixed in equal proportions,
they form neutralized secondary colour i.e. Quarternary
colours.
3.2. DIMENSIONS OF COLOUR
Hue: It is the name of the colour such as yellow red, blue.
Hue indicates the colour position in thecolour wheel andthe
spectrum. In also indicates the warmth and coolness of a
colour as under. Red is a warm colour, Blue is a cool colour
and Green is an intermediate colour.
Value: It only refers to the lightness of darkness of a colour,
i.e. amount of light reflected or transmitted by the object.
Between the whitest white and the blackest black there are
countless degrees of light and dark values. Any hue can vary
in value e.g. Red can become light pink of dark maroon.
Intensity: It indicates a color’s brightnessofdullness.Thisis
determined by the quality of the dominant hue, e.g. Bright
royal blue is more intense than powder blue.
There are various ways to change a hue, value,orintensityof
a colour. Adding white to red, changes it to a lighter red,
known as a Tint. A colour would be darkened by adding
black to it, and it could then be called a Shade. An Infinite
variety of any colour is possible depending on how much we
lighten or darken it.The tone of a colour has nothing to do

with its brightness or somberness; it simply means depth or
strength of colour. In a black and white photograph, objects
show up according to their tonal value, rather than the
brilliance of their colour.
3.3. STANDARD COLOUR HARMONIES
It consists of various colour schemes i.e. Monochromatic,
Analogous, Complementary, Split Complementary, Double
Split Complementary, Triads, Contrast Colour Scheme,
Harmonizing Colour Scheme and Neutrals.
Monochromatic Scheme: This Scheme, simple but
attractive, is one in which many tints and shades of a single
colour are used.
Figure 14 Monochromatic Scheme
Analogous Scheme: This scheme permits the use ofcolours
lying adjacent to each other on the chromatic circle (colour
wheel). These colours are not necessarily used in their pure
form but mixed together in varying amounts so that
numerous shades may be developed from the few colours
used. It is usual for one colour to dominate.
Complementary Scheme: For a simple complementary
scheme, two colour opposite to each other on the chromatic
circle such as blue, violet and yellow, are used in under
mentioned varying proportions such as 65-35,75-25,80-20.
Neither of these need be used in the pure from but hundreds
of shades may be obtained by blending them in varying
amounts.
Note that, the colour of the smaller area complements the
colour of the larger area.
Figure 15 Split Complementary
Split Complementary Scheme: A split complementary
takes the form of a ‘y’ on the colour wheel. The one are of the
‘Y’ on the colour wheel. The one are of the ‘Y’ pointing for
instance, to yellow orange, the other are to the yellow green
and the stem of the ‘Y’ to violet.
Note that, no primary colour can be split.
Double Split (Near)Complementary:Thistaketheform‘X’
on the chromatic circle, for example,thetoparmspointingto
yellow orange and yellow green and the bottom arms
pointing to red violet and blue violet.
Figure 16 Near Complementary
Triads: Another excellentcolourschememaybeobtainedby
the mixture of triads, i.e. 3 colours located at the third points
of the chromatic circle. For instance red, yellow and blue.
Figure 17 The Triad
Figure 18 The Tetrad
Contrast Colour Scheme (Tetrad):Theseareusuallybased
on two different primary colours red and blue for instance,
or red and green (which is blue+ yellow). Contrast Colour
Scheme can often be extremelyeffective,especially,ifusedin
the proportion of 50-50, deliberately in a primitive way.
The danger with contrast is that, they can look harsh or
crude unless carefully handled. On the whole, they are best
used in uneven balance. This can be used to break the
harmonizing elements.
Harmonizing Colour Scheme: These are colours based on
or linked by the same primary colours. Quite a number of

colours that at first appear to be strongly contrasted,havein
fact got some colour link. Pink and orange, for example,have
some proportion of red as linking colour, orange being red
and yellow. A one colour harmonizing scheme – that is one
built up by using different tones and shades of the same
colour, is probably easier to handle than any other.
Neutrals: Perhaps the best way of defining a neutral is to
call it a background colour-a colour which can be used in
large areas without tiring or distracting the eyes andagainst
which, other colours showupvividlyandeffectively,Whiteis
the most commonly used neutral, Black is good when used
with white and other neutrals and grey has to be used
carefully or it looks depressing,Brown(possiblybecause itis
a mixture of three primary colours) is another very helpful
neutral, especially, if quite a lot of grey has been added to it.
The advantage of a neutral is that, it does not need to be
changed too fast.
Warm, Cool and Neutral Colours: (Refer colour wheel)
Greenish yellow, Yellow, Orange yellow, Orange, Organism
red, Purplish and are warm colours.
Bluish green, Blue, Bluish purple are cool colours. 50%
Yellow and 50% Blue i.e. Green and 50% Red and 50% Blue
i.e. Purple are Neutral Colours.
Figure 19 Colour Wheel
4. Conclusion:
Colours behave in most interesting ways. People are always
fooled when they select a certain colour from a small colour
chip to be applied to a large area. A colour of a certain hue
and lightness appears different in interior spaces than in
exterior spaces. It is even differentindirectlightandindirect
light. The size matters, a small area will not look the same as
a large area of the same colour.
Thus, it is worth-while taking both time and trouble to
understand how colours can work for you,becausechoosing
colour scheme can be one of the most enjoyable aspects of
house decoration. Through colours you can express your
personality and make a home uniquely yours. The way the
colours are put together in a room will determine its
character and will differentiate it fromanyother.Inanage of
standardization and mass production, this is surely to be
valued.
Far more design freedom, application of theories, material
choices stylistic development, locational fit, Elevation,
options and more architectural Explorations. Architecture
becomes important for architects own professional growth
all over world, Designing projects most complex profession.
Designing purpose of projects need redefinitions, architects
own ideas also bound to change because it is critical to be
observing the present trends.
Architects will have their Exposure and Experience for
designing projects. Hence the variety and diversity vise
versa. This is the time to promote Architects collectively
promote architecture projectsandaswell Educational based
policies. Thematic approaches including cost conscious
construction, culturally appropriate,climaticallyconfirming,
creativity, dialoguing, Energy Embodied, harmony with
nature, scale of spaces, sequential privacy, connectivity,
visual depths, functional flexibility, visual perception,
experience of users and life cycle matters.
References:
[1] Bechu, A., Bechu, C., 2020. Using architecture to
reconnect cities with nature. Field Act. Sci. Rep. (20),
52e57. http://journals.
openedition.org/factsreports/5692.
[2] Cruz, E., 2018. Biomimicry World Tour: research
project in architecture and civil engineering
2015e2016.
[3] Bechu, A., Bechu, C., 2019. Using architecture to
reconnect cities with nature. Field Act. Sci. Rep. (20),
52e57. http://journals.
openedition.org/factsreports/5692.
[4] Chayaamor-Heil, N., Hannachi-Belkadi, N., 2016.
Towards a platform of investigative tools for
biomimicry as a new approach for energy-efficient
building design. Buildings 7 (1), 19.
[5] Cruz, E., 2015. Biomimicry World Tour: research
project in architecture and civil engineering
2015e2016.
[6] Doorn, W., Meeteren, U., 2014. Flower opening and
closure: a review. J. Exp. Bot. 54 (389), 1801e1812.
[7] Gerum, R., et al., 2013. The origin of traveling waves
in an emperor penguin huddle. New J. Phys. 15 (12),
125022.
[8] Gissen, D., 2013. Subnature: Architecture’s Other
Environments. Princeton Architectural Press.Gruber,
P., 2011. Biomimetics in Architecture: Architectureof
Life and Buildings. Springer, Germany.
[9] Hensel, M., et al., 2010. Emergent Technologies and
Design: towards a Biological Paradigm for
Architecture. Routledge, USA. ISO 18458, 2015.
Biomimetics e Terminology, Concepts and
Methodology, May 2015, first ed. (Switzerland).
[10] Arabindoo, P. 2014. Urban Design in the Realm of
Urban Studies. In ExplorationsinUrbanDesign, ed.M.
Carmona. London: Ashgate.
[11] Archeological Project Services, Historic Building
Survey of Nissen Hut, Hartwel Lodge, Moorlane,
Roughton, Lincolnshire, report compiled by Gary
Taylor BA (Hons) MA MSc, Lincolnshire County
Council, June 2009. Source:
http://archaeologydataservice.ac.uk/catalogue/adsd
ata/arch-1045-
1/dissemination/pdf/BR_NissenHut_HartwellLodge_
MoorLane_Roughton.pdf

[12] Archer, David &Rahmstorf, Stefan, The Climate Crisis
– an introductory Guide to Climate Change,
Cambridge University Press 2010
[13] Bahamon, Alejandro (ed.), PreFab – Adaptable,
Modular, Dismountable, Light, Mobile Architecture,
Loft Publications S.L. and HBI, an imprint of Harper
Collins Publishers, New York, 2002
[14] Barraza, Hansy Better, Where are the Utopian
Visionaries? Architecture of Social Exchange,
Periscope Publishing, Pittsburgh, 2012
[15] Bergdoll, Barry & Christensen, Peter, Home Delivery.
Fabricating the Modern Dwelling, The Museum of
Modern Arts, New York, 2008

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