DesignedIntuition

Designed Intuition at its core strives to be more than simply informative on

the elements and principles of design that make a space “work”. For us, the most

enticing aspect of design lies in what it reveals about human nature and

furthermore, how space can be manipulated based on this to “design” a

person’s intuition when they enter a room. This magazine sets out to increase the

awareness and understanding of something primitive within us all. Using the

everyday commercial and residential interiors and exteriors of Athens, GA, we are

raising the age-old question, “Why did the caveman paint the wall?” How and

why do we use the way we build our homes, our restaurants, our stores to express

our ambitions, fantasies, desires, and needs? We feel confident that this burning

question has the potential to draw in readers of all ages, backgrounds, and interests.

We anticipate a readership of great variety because the nature of our thesis implies

that everyone is a designer. Everyone has the capacity to be influenced and to

influence others through the way environments are built. Ultimately, we are

confident that in increasing the reader’s understanding of the elements and

principles of design through Designed Intuition we can help answer some of the

above questions and nurture and refine the instinctive ability within us all to

“design intuitions” through a space.

W h a t We ’ r e A l l A b o u t . . .

Elements

of

Design

TEXTURE

SMOOTH

ROUGH

SURFACE QUALITY-REAL(TACTILE TEXTURE)

SURFACE QUALITY-IMPLIED(VISUAL TEXTURE)

NON-REFLECTIVE

REFLECTIVE

Smooth Te x t u r e

Casa Mía

Photographed below, the smooth surfaces of the chairs, table, and

booth juxtaposed next to the rough surface of the brick wall add unique

dimension to the space. Located next to such large windows, it also creates a significant glare from the natural light coming from outside.

ROUGH

TEXTURE

Katie A.’s House

The peeling paint on the wall photographed below gives the space a

rustic, aged appeal. As the house itself is indeed old, the decision to not re-paint the wall was intentional in attempt to

maintain an unrefined ambiance.

`d

Real Texture

Photographed on the left, old scrap

strips of corrugated metal are collaged on the wall inside The Last Resort. Highlighted with intense spotlight, the rustic texture adds dimension to

the wall and vintage appeal to the space.

Pictured on the left, three contrasting materials meet to

form a visual hodge-podge of texture inside Transmet Restaurant. The

extra-long suspended downlight helps draw the eye up to its base

at the decorative ceiling reiterating the unique design aspect.

T E X T U R E

IMPLIED

Implied texture can give depth to

a flat or uninteresting space. Shown

here, the use of implied texture

in this mural looks so real you almost want to reach out and touch it. Its’

presence adds a dynamic

perspective to a static space.

The non-reflective texture of the

Episcopal Church on Prince Ave. make it appear more solid

and grounded where a building with more windows (reflective

surfaces) has a more airy feel.

SKETCH

Non-reflective Texture

R ef lect ive Texture

The reflective, embossed ceiling pictured above inside of Transmetropolitan Restaurant helps to amplify the subtle yellow light used in the space by reflecting its glare back down into the eating area. Aside from being simply stunning, the use of this ceiling finish helps lighten an otherwise dimly lit space with dull, non-reflective wall finishes.

L I G H TArt

Task

Track

Mood

Soffit

Natural

Colored

Ambient

Uplighters

Combustion

Floor Lamps

Table Lamps

Toe Kick/Raiser

Glare from Natural

Light

Glare from General

Light

This piece of art lighting inside of The Last Resort helps add a vivid accent to the space. Its natural construction mimics aged

brickwork else-where in the restaurant. It helps give the restaurant’s formal atmosphere a more casual touch.

Ar tL igh t ing

TASK LIGHTING

Task lighting is used to emphasize a space that may need

a little extra light such as an island in a kitchen or a desk

in an office.

SKETCH

TRACK LIGHTING

The Last Resort

Track lighting generally involves several units of lighting which can move

freely around a track and be angled in many

different directions.

This type of lighting is often

used to feature art or for dramatic

effects on otherwise blank

walls.

The lighting pictured below inside of

Walkers Café and Pub lends this

corner of the restaurant/bar a warm

orange glow. The pendant fixtures

orange tint emits light which creates

an intimate, inviting environment

good for enjoying a warm cup of

coffee or getting some studying done

in a soothing, welcoming space.

MOOD

LIGHTING

Soffit

LightingA soffit is an exposed

undersurface of an overhanging section

that protrudes from a wall. Adding lighting to

such a space helps to emphasize whatever is

located beneath the soffit as well as adding

interest to the structural piece.

N A T U R A L

L I G H T

With minimal assistance from the suspended

lights, the back patio at Walker’s Café and Pub is

lit almost entirely by natural light. It’s a

refreshing, yet private outdoor experience with

your favorite coffee drink or beer!

COLORED

L I G H T I N G

Colored light is often challenging to

incorporate into interiors because of the unusual light it casts. However, Big

City Bread-above-has used a combination of

colored and normal lighting for a unique

lighting scheme.

SKETCH

AMBIENT

LIGHTING

The ambient lighting photographed below inside Clocked has a unique, playful attitude

about it. The bright colors and varying patterns are all tied together through the repetitive use

of the same fixture shape.

SKETCH

U P L I G H T E R S

Uplighting can help to minimize the intensity of light in a space. Because it is reflected off of a surface before it reaches the eye (the ceiling), it is perceived to be less

severe.

COMBUSTION

LIGHTING

Combustion lighting can quickly enhance a spaces’ romanticism.

The piece photographed below adds just that along with providing a

significant amount of light due to the

number of candles used.

Casa Mía

Floor Lamps

Floor lamps are a

very common form of lighting in interior spaces. They offer a softer, more gentle light in comparison to overhead lighting which can stress the eyes and make one

tire faster.

SKETCH

TableLamps

Table lamps are everywhere-plain and simple. They light up a book or spice up a dull

corner. Table lamps come in all different forms and

can add pizzazz to any space!

Clocked

TOE

KICK

LIGHTING

Toe kick lighting, pictured below inside The Smoker’s Den in Athens, can add a

unique visual interest with its reflection and general soft glow. Though it looks

expensive, this is simply rope light stapled underneath the bottom shelf.

GLARE

FROM

NATURAL

LIGHT

Generally a restaurant would try to avoid a glare such as the one pictured below when

choosing the material for their flooring. Such a glare could be very straining on the eye. This restaurant, however, is open for dinner only and thus utilized this to their advantage and

chose to use large, bare windows.

Glare from General Lighting

Big City Bread

The sconces which cover all but the bottom portion of the lightbulb allow direct light from the bulb to be exposed creating a very distinct glare.

The glare from the lights picture here inside of Big City

Bread is definitely a visual draw.

L I N E

Straight Horizontal

Straight Vertical

ZigZag

Curved Flowing

Curved Tightly

S t ra ight Hor izonta l L ine

Springdale Street

Straight, horizontal lines often create a

grounding effect to the eye. Here, the repeated use

of horizontal lines in the roof line and window

overhangs makes the house appear to have

more mass than it does.

These lines elongate the structure and give it a high optical density.

S

T

R

A

I

G

H

T

V

E

R

T

I

C

A

L

L

I

N

E

Straight vertical lines can make a

strong, bold statement if

emphasized in design. Here, the

light paint on the outside bricks

makes the long vertical lines pop

out from the building. Its height

feels exaggerated as a result.

Meigs St.

Z IGZAG L INE

Zigzag lines can have very

different effects

depending on their direction. For example, the line of the roof on the left

makes the building look grounded and

static. The zigzag lines on

the pillows, however, seem

to imply movement and

energy.

CURVED

FLOWING

LINES

SKETCH

The curved, flowing

lines of the roof at Urban Lofts juxtaposed

with the angular lines just below the roof line and the

strong vertical lines of the metal siding help to soften the

modern look. As a result, the buildings maintain a

sophisticated but warm appearance.

Tigh t l y Curved L ines

Bright colors aside, the use of tightly curved lines on this house

lends it a whimsical, somewhat playful feel.

Harris Street

Where these types of lines

can often create a tight constrained

feeling, these lines feel light

and airy.

C O L O RMonochromatic

Analogous

Direct Complementary

Triadic Complementary

Double Complementary

Tetrad Complementary

Split Complementary

Alternate Complementary

Neutral Palette

MONOCHROMATIC

COLOR

The use of monochromatic color schemes is rare in interiors because of the number of objects that would

need to be of the same color origin. It is, however, more common on exteriors of homes such as pictured

here with blue, green, and brown monochromatic color schemes.

Finley Street

Finley Street

Dubose Street

A n a l o g o u sC o l o r s

Analogous colors are three colors that are next to each other on the color wheel as

shown below. Pictured here, the colors include blue, green, and yellow in a paisley pattern on suspended Chinese

lanterns.

Hannah E.’s Loft

COMPLEMENTARY COLORS

Complementary colors are colors that are opposite one another on the basic color wheel. Two high intensity color complements placed next to one another tend to draw the eye’s attention. However, in more muted hues, two complements’ contrast become less noticeable.

Mixing two complementary colors helps to neutralize the intensity

Dubose Street

SKETCH

Triadic

Complementary

Colors

Triadic complementary colors are three colors that are

evenly spaced on the color wheel for

example, red, yellow, and blue, as shown in the photo

to the left.

Helix

Double

Complementary

Colors

Double complementary colors

are two pairs of complementary colors used at the same time. Photographed below are the complements red and green, and orange and blue.

Tetrad Complementary Colors

Tetradic complementary

colors are four colors that are spaced as

such on a color wheel that they form a

rectangle between one another.

Photographed here is a combination rarely found on the exterior of homes with vibrant

blue, green, orange, and red.

Pictured above, Transmetropolitan Restaurant demonstrates this color scheme with a high chroma blue next to a saturated red ceiling and a green wall.

Split-Complementary

ColorsSplit complementary color schemes involve

one hue, and two equally spaced from its

complement.

A L T E R N A T EC O M P L E M E N T A R Y

C O L O R S Alternate

complementary

colors are a set of

triadic

complementary

colors plus a direct

complement of

one of the hues.

Here, the triadic

grouping is red,

yellow, and blue

with purple as

yellows direct

complement.

Helix

NEUTRAL

PALETTE

Neutral palettes can often have a very calming and soothing affect on ones mood. Beiges, tans, whites, and some greens can all be used in a neutral palette to help one relax

and be at peace.

S P A C EPOSITIVE SPACE

NEGATIVE SPACE

CROWDING

TERRITORIALITY

SKETCH

P O S I T I V E S P A C E

Positive space is any part of a design that carries visual weight. Here, a screen which is meant to provide privacy has small

holes through which light can penetrate. It does, however, have enough positive space that it provides adequate privacy for

anything/anyone on the other side.

Helix

N e g a t i v e S p a c e

Helix

Negative space is anything in design which lends no visual weight to

a space. Taken from ground level, one can see that the boutique, Helix, utilizes negative space

liberally creating an open, airy feel to their store.

SKETCH

Crowding

Crowding is most commonly a problem experienced away

from home (hopefully!). Though proven to be less

appealing, a crowding effect is sometimes unavoidable and in boutiques, this often seems to be the case. Pictured here is a

store overflowing with racks of shoes, purses, jackets and

more-all right up against one another!

Heery’s

T e r r i t o r i a l i t y

Territoriality is any length a person goes

to in order to personalize a space as

their own. Here, the owner of this

bedroom used an art piece in which she

had to spell her name with objects she

photographed, in order to claim the

space as hers.

Lauren W.’s House

P A T T E R NP A T T E R N

Episcopal Church Prince Ave

S H A P E

Geometric

Natural/Organic

Abstract

Non-Representational

Static

Dynamic

SKETCH

GeometricShape

Geometric shapes are

very common in design.

They’re simple, yet can be used

in dynamic and interesting ways to create variety. Here the designer used circular

shapes to create a

shelving unit.

Natural/OrganicShape

Natural and organic shapes are also

more common than you’d think.

Because spaces which lack such shapes or forms

often feel too industrial, they are commonly thrown

into the mix of most interior spaces.

Photographed here is a unique organic

shape featured outdoors in the form of graffiti. Almost as

though it were planned, the trees

that extend beyond the roof line seem to

stem from the painting itself.

Sunshine Cycles

SKETCH

Sunshine Cycles

Abs t r a c t

S h ap e

Abstract shape is generally one that is recognizable, but not precise. For example, the figures pictured on the left are clearly birds and a few fish, however never -or at least very rarely ;) - would you ever see a fish or a bird that actually looked like this. Therefore, the

shapes are representational, but

abstract.

Non-representation Shape

SKETCH

Unlike abstract shape, non-

representation shape has little to no recognizable parts. Such as pictured here,

many non-representation

shapes consist of random line segments or

splatters.Jittery Joe’s

Dynamic Shape

Dynamic shape can be used to imply movement and give a 2D shape a bit more life than usual. This vivacious characteristic

is obvious in the photograph on the right

taken outside the concert hall, The 40 Watt. The flowing lines of notes

make it seem as though it could almost move if it

wanted too.

S t a t i c S h a p e

Unlike dynamic shapes, static shapes do not imply movement. They are very stagnant and seemingly more permanent. This

shape, for example, seems especially permanent because of its partial

embedding into to the wall.

SKETCH

A-OK’s Cafe

F O R MG e o m e t r i c

N a t u r a l

A b s t r a c t

N o n - o b j e c t i v e

GEOMETRIC FORM

Certain geometric forms are

very obviously

easy to find in the built

environment-squares and rectangles-

however forms such as the repeated

triangles pictured here are a bit more rare to spot.

Natural Form

Incorporating natural form into a design can give a

space a more natural, casual feel and heaps

of interest!

This sculpture outside of Big City

Bread is a huge visual interest

piece and draws lots of attention in

their outdoor eating area.

SKETCH

Abs t r a c t Fo rm

SKETCH

P"nciples

of

Design

B A L A N C EVisua l Symmet ry

S t ruc tu ra l Symmet ry

V i sua l Asymmet ry

S t ruc tu ra l Asymmet ry

V i sua l Rad i a l Symmet ry

S t ruc tu ra l Rad i a l Symmet ry

SKETCH

VISUAL SYMMETRY

STRUCTURALSYMMETRY

UGA President’s HousePrince Ave

True structural symmetry is not always difficult to find, however there are certain places that seem to stand out more than

others. The UGA President’s House-pictured above-is a prime example of bold symmetry

with symmetrical landscaping to match.

Visual

Asymmetry

Structural Asymmetry

Prince Avenue

Visual asymmetry is a good way to

communicate balance without having exact

mirror images on each side of a center line like

shown below.

Structural Radial Symmetry

SKETCH

Structural radial symmetry can often be found in on the exposed

ceiling joists of old porches. Pictured above you can see the joists that form a radial pattern as they round the

corner of the building.

H A R M O N Y

Unity through Line

Unity through Shape

Unity through Color

Unity through Repetition

Variety through Color

Variety through Materials

Variety through Furniture

Variety through Modern

in Contrast to Old

Unity Through Line

Unity Through Shape

Unity through

Color

The co-op grocery story on Prince Ave in Athens uses vibrant turquoise to tie together its porches and trim. Though a single element might look out of place in such a bold hue,

they work harmoniously together and provide for a very stark contrast between itself and the deep red brick.

Unity Through Repitition

Variety through Color

variety through materials

variety through furniture

Variety Through Modern in

Contrast to Old

Agora, in downtown Athens, is a hodge-podge

of antique and retro, modern and old. The

entire store is dripping with interest and the different pieces flow

together flawlessly despite their eras of origin.

E M P H A S I SFocal Point-Visual

Focal Point-Structural

focal point-visual

Focal Point Structural

This house, located on Milledge

Avenue, has a very distinct visual focus.

The eye is almost

immediately pulled

towards the large arched

entryway as it contrasts so starkly with

the other vertical and horizontal lines used.

M A S S I N GActual Density

Optical Density

actual density

optical density

R H Y T H M

Repetitive

Climactic

Contrast

Transitional/Flowing

Repetitive

Rhythm

A space, whether interior or exterior, can gain significant cohesiveness if rhythm is used correctly. Here, repetitive

rhythm is used, tying together the windows, balconies, awnings, and even landscaping. All the way down the slope

the same pattern continues creating a unifying effect between all the spaces.

College Avenue

CLI

MACTIC

R

H

Y

T

H

M

Photographed above, you can see how the structure of the staircase and its exposure to outside almost forces the eye

upwards. As it climbs, the architectural detailing becomes more intricate-to the tops of the corinthian columns and all the way up

to the decorative railing at the roof line. Its movement and rhythm is most definitely one of climax.

contrast

transitional/flowing rhythm

Space Planning/Furniture Arrangement

Successful Space Function

Unsuccessful Space Function

Straight Line Groups

L-Shaped Groups

U-Shaped Groups

Circular Groupings

Parallel Groupings

Solo Groupings

successful space function

unsuccessful space function

straight line grouping

L-shaped grouping

U-shaped grouping

circular grouping

parallel grouping

solo grouping

P r o p o r t i o n

Object in Proportion with Space

Object NOT in Proportion with Space

object in proportion with space

object NOT in proportion with space

S C A L E

Human Scale

Symbolic Scale

human scale

SYMBOLIC

SCALE