Term
|
Definition
| Is a way to direct design based on a system of beliefs or philosphy. |
|
|
Term
| Design Theory is based on these influences: |
|
Definition
|
|
Term
|
Definition
Holds that humans innately perceive things as a whole so that what is perceived is complete and comprehensible. |
|
|
Term
|
Definition
In which the same color appears to change depending on the background color it is seen against. |
|
|
Term
|
Definition
| States that humans perceive separate units in the visual field as a group. |
|
|
Term
|
Definition
(Sometimes called form constancy) Is the tendency to perceive incomplete forms as complete. |
|
|
Term
|
Definition
| The tendency to see a line or shape as continuing in a particular direction rather than making a sharp turn. |
|
|
Term
|
Definition
As part of Gestalt psychology states that people prefer the simplets, most stable organization of forms or the overall structure of elements in the visual field rather than complex individual parts. |
|
|
Term
|
Definition
| Describes the way people distinguish a form from its surroundings. |
|
|
Term
|
Definition
Mechanism that allows humans to perceive an object or space as essentially the same regardless of the exact image on the retina of the eye. |
|
|
Term
|
Definition
| Means that people perceive objects as having their original shape regardless of the change in the orientation of the object or the point of view of the observer. |
|
|
Term
|
Definition
| Means that people tend to perceive an object as having the same size regardless of the changes in viewing distance to the object. |
|
|
Term
|
Definition
| Means that people perceive the lightness or darkness of an object at the same regardless of the illumination of the space in which the object is viewed. |
|
|
Term
|
Definition
| Means tha people perceive the color of the object as the same regardless of the lighting conditions under which the object is viewed. |
|
|
Term
|
Definition
| The difference in what each eye sees. |
|
|
Term
|
Definition
| The overlap of a distant object with a closer object. |
|
|
Term
|
Definition
| The common experience of parallel lines appearing to recede toward a point in the distance. |
|
|
Term
|
Definition
Distant objects apear to be hazy. |
|
|
Term
|
Definition
| Density of a texture seems to increase as the distance from the viewing increases. |
|
|
Term
Relative Closeness of Objects to the Horizon Line |
|
Definition
| For objects below the horizon line, the closer objects are to the horizon line, the farther away they are. |
|
|
Term
| Social and Cultural Influences on Interior Design |
|
Definition
Political conditions Economic conditions Cultural attitudes Symbolism Regionalism
|
|
|
Term
|
Definition
Statements about functional solutions to the client's performance requirements. No attempt to actual physical solution. |
|
|
Term
|
Definition
Open Linear Axial Centralized Grid Clustered
|
|
|
Term
|
Definition
| Most commont type of itnerior relationships, in which each space or room has its own use and functional requirements and is separated by a partition or other construction element. |
|
|
Term
|
Definition
| Consist of two spaces whose unique limits can be perceived bu that share a common space. |
|
|
Term
| Space Sharing a Common Space |
|
Definition
| Retain their unique identity and are linked with a third space that has its own identity (Ex. House built around a courtyard). |
|
|
Term
| Space within another Space |
|
Definition
| Is crated when a clearly identifiable spae or room is placed as an object within a larger open space. |
|
|
Term
| Elements of Interior Design |
|
Definition
|
|
Term
| Components of Interior Design |
|
Definition
Details Lighting and Color Materials Furniture Accessories
|
|
|
Term
| Three Basic Types of Adjacency Needs: |
|
Definition
People Products Information
|
|
|
Term
|
Definition
| Type of adjacency diagram that shows the locations of major spaces or departments when a project occupies more than one floor of a multistory building. |
|
|
