Eva völler free download pdf

Book Description: Here, Taoist practitioner Eva Wong offers a colorful treatment of the history and evolution of Taoism, told through traditional teaching tales. These tales, which Wong first heard as a child growing up in Hong Kong, are gleaned from the local storytellers and the uncensored chronicles known as yeshi - the wild history of China, not monitored by the official imperial scholars and historians.

The stories are by turns mysterious and intriguing, passionate and violent, and they are peppered with colorful characters, including hermits, politicians, social activists, revolutionaries, scholars, scientists, and mystics. Arranged chronologically from prehistory through the early twentieth century, these stories introduce the schools in the Taoist lineages, and capture the defeats and victories of Taoism, its periods of decadence and decay, and its renewal, maturation, and spiritual triumph.

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This gives rise to the principal advantage of multiview drawings—the ability to locate points precisely, gauge the length and slope of lines, and describe the shape and extent of planes. A single multiview drawing can reveal only partial information about an object or construction. There is an inherent ambiguity of depth because the third dimension is flattened onto the picture plane. Whatever depth we read in a solitary plan, section, or elevation must be inferred from such graphic depth cues as hierarchical line weights and contrasting tonal values.

Although a sense of depth can be inferred, it can be known with certainty only by looking at additional views. A floor plan represents a section through a building or portion of a building after a horizontal slice is made, usually at about four feet about 1.

A building section shows the relationship of the floors, walls, and roof structure of a building and reveals the vertical dimensions, shape, and scale of the spaces defined by these elements.

While normally included in the drawing of building sections, they may stand alone to study and present highly detailed spaces, such as kitchens, bathrooms, and stairways.

In this case, instead of profiling the section cut, we emphasize the boundary line of the interior wall surfaces.

They include axonometric projections—a subset of orthographic projections, the most common of which is the isometric projection—as well as the entire class of oblique projections. These horizontal planes therefore reveal their true size and shape, while the two prime sets of vertical planes are foreshortened. Multiview and paraline drawings utilize parallel projectors, and the projected size of an element remains the same regardless of its distance from the picture plane.

The converging projectors or sightlines in a perspective drawing, however, alter the apparent size of a line or plane according to its distance from the SP picture plane and the observer. In other words, converging sightlines reduce the size of distant objects. The primary use of perspective drawings in design is to convey an experiential view of space and spatial relationships.

One-point perspectives are particularly effective in depicting interior spaces because the display of three bounding faces provides a clear sense of enclosure. In depicting interior spaces, a two-point perspective is most effective when the angle of view approaches that of a one-point perspective.

Any perspective view that displays three bounding faces of a spatial volume provides the clear sense of enclosure inherent in interior spaces. The tactile, kinesthetic response to sensory phenomena that drawing requires sharpens our awareness in the present and enables us to collect memories of the past. We should not allow this capacity for precision to limit our exploration in the early stages of the design process. In surveying our visual field, Color vision our eyes continually move, scan, focus, and refocus to discover visual information.

To make sense of what we see, Fine focus the brain interprets the visual data gathered by our eyes and assembles the information into visual patterns that we can recognize and understand.

Optic nerve The normal process of perception is utilitarian and geared toward recognition. When we see a chair, we recognize it to be a chair if its form and configuration fit a pattern established by chairs we have seen and used in the past. This ability to see beyond recognition and utility is extremely important to designers. We must Form continually strive to see and be conscious of the specific visual characteristics of things and how they relate Shape to and interact with each other to form the aesthetic quality of our visual environments.

If our visual field were undifferentiated, we would be unable to identify anything. As a perceptible change in tonal value, color, and texture occurred, however, we would begin to discern an object or figure as differentiated from its background.

To read the lines, shapes, and forms of objects in our field of vision, therefore, we must first perceive contrast between them and their background. In addition to tonal value contrast, what distinguishes a figure from its background is its shape and size relative to its field. While a figure shares a common border with its background, it has a more distinct and recognizable shape that makes it appear as an object.

Figures are sometimes referred to as positive elements—having a positive shape—while backgrounds are described as negative or neutral elements—lacking a clear or discernible shape. Figures are most discernible when surrounded by a generous amount of space or background. When the size of a figure is such that it crowds its background, the background can develop its own distinct shape and interact with the shape of the figure.

At times, an ambiguous figure-ground relationship can occur wherein elements in a composition can be seen alternately, but not simultaneously, as both figure and ground.

Our visual world is, in reality, a composite image constructed from a continuous array of figure-ground relationships. The point is the generator of all form. As a point moves, it leaves a trace of a line—the first dimension. As the line shifts in direction, it defines a plane—a two-dimensional element. The plane, extended in a direction oblique or perpendicular to its surface, forms a three-dimensional volume. Point, line, plane, and volume—these are the primary elements of form.

All visible forms are, in reality, three- dimensional. In describing form, these primary elements differ according to their relative dimensions of length, width, and depth—a matter of proportion and scale. Conceptually, it has no length, width, or depth. It is, therefore, static and directionless. As the prime generator of form, a point can mark the end of a line, the intersection of two lines, or the corner where the lines of a plane or volume meet.

Point As a visible form, a point is most commonly manifested as a dot, a circular shape that is small relative to its Nonlinear field. Other shapes can also be seen as point forms if Centered sufficiently small, compact, and nondirectional. When at the center of a field or space, a point is stable and at rest, and capable of organizing other elements Multiple points define lines and shapes. When moved off-center, it retains its self- centering quality but becomes more dynamic.

Visual tension is created between the point and its field. Point- generated forms, such as the circle and the sphere, share Relatively small shapes can read as points. Centered Off-centered Reinforcing a point Center of attention Point-generated forms, such as the circle and the sphere, are self-centering. Conceptually, a line has only one dimension, length. Unlike a point, which is static and directionless, a line is capable of expressing movement, direction, and growth.

Movement Direction As visible forms, lines may vary in weight and character. A line can also be implied by two points. Carried further, the simple repetition of similar elements, if continuous enough, can define a line with significant textural qualities.

Lines can vary in weight, contour, and texture. An important characteristic of a straight line is its direction. A horizontal line can represent stability, repose, or the plane upon which we stand or move. In contrast to this, a vertical line can express a state of equilibrium with the force of gravity.

Equilibrium Diagonal lines, deviations from the horizontal and the Stability vertical, can be seen as rising or falling. In either case, they imply movement and are visually active and dynamic. A curved line represents movement deflected by lateral forces. Curved lines tend to express gentle movement. Depending on their orientation, they can be uplifting or represent solidity and attachment to the earth.

Small curves can express playfulness, energy, or patterns of biological growth. Without lines, we would not be able to define shape—that characteristic by which we generally recognize things. Lines describe the edges of shape and separate it from the space around it. In addition, the contours of these lines imbue the shape with their expressive qualities. Lines defining shapes In addition to describing shape, lines can articulate the edges of planes and the corners of volumes.

These lines can be expressed either by the absence of material— reveals and recessed joints—or by the application of trim. Lines can also be used to create texture and patterns on the surfaces of forms. This structural role of linear elements can be seen at the scale of architecture and interior space, and in furnishings. Within the design process itself, lines are used as regulating devices to express relationships and establish patterns among design elements. We often use lines to regulate relationships in drawing and design.

Conceptually, a plane has two dimensions—width and length—but no depth. Shape is the primary characteristic of a plane. It is described by the contour of the lines defining the edges of the plane. In addition to shape, planar forms have significant surface qualities of material, color, texture, and pattern. Floor, wall, and ceiling or roof planes serve to enclose and define three-dimensional volumes of space.

Their specific visual characteristics and their relationships in space determine the form and character of the space they define. Within these spaces, furnishings and other interior design elements can also be seen to consist of planar forms.

It may refer to the contour of a line, the outline of a plane, or the boundary of a three- dimensional mass. In each case, shape is defined by the specific configuration of the lines or planes that separates a form from its background or surrounding space. Natural shapes There are several broad categories of shapes.

Natural shapes represent the images and forms of our natural world. These shapes may be abstracted, usually through a process of simplification, and still retain the essential characteristics of their natural sources. Nonobjective shapes make no obvious reference to a Nonobjective shapes specific object or to a particular subject matter. Some nonobjective shapes may result from a process, such as calligraphy, and carry meaning as symbols.

Others may be geometric and elicit responses based on their purely visual qualities. Geometric shapes dominate the built environment of both architecture and interior deign. There are two separate Geometric shapes and distinct types of geometric shapes—rectilinear and curvilinear. In their most regular form, curvilinear shapes are circular, while rectilinear shapes include the series of polygons that can be inscribed within a circle.

Of these, the most significant geometric shapes are the circle, the triangle, and the square. Extended into the third dimension, these primary shapes generate the sphere, the cylinder, the cone, the pyramid, and the cube. It represents unity, continuity, and economy of form. A circular shape is normally stable and self-centering in its environment.

When associated with other lines and shapes, however, a circle can appear to have motion. Other curvilinear lines and shapes can be seen to be fragments or combinations of circular shapes. Whether regular or irregular, curvilinear shapes are capable of expressing softness of form, fluidity of movement, or the nature of biological growth.

Triangular shapes and patterns are often used in structural systems, since their configuration cannot be altered without bending or breaking one of their sides. From a purely visual point of view, a triangular shape is perceived as stable when resting on one of its sides. When tipped to stand on one of its points, however, the triangular shape becomes dynamic. It can exist in a precarious state of balance or imply motion, as it tends to fall over onto one of its sides. The dynamic quality of a triangular shape is also due to the angular relationships of its three sides.

Because these angles can vary, triangles are more flexible than squares and rectangles. In addition, triangles can be conveniently combined to form any number of square, rectangular, and other polygonal shapes. The equality of its four sides and its four right angles contributes to its regularity and visual clarity. A square shape has no preferred or dominant direction. Like the triangle, the square is a stable, tranquil figure when resting on one of its sides, but becomes dynamic when standing on one of its corners.

All other rectangles can be considered to be variations of the square with the addition of width or length. While the clarity and stability of rectangular shapes can lead to visual monotony, variety can be introduced by varying their size, proportion, color, texture, placement, or orientation.

Texture is most often used to describe the relative smoothness or roughness of a surface. It can also be used to describe the characteristic surface qualities of familiar materials, such as the roughness of stone, the grain of wood, and the weave of a fabric. There are two basic types of texture. Tactile texture is real and can be felt by touch; visual texture is seen by the eye. All tactile textures provide visual texture as well. Texture refers to the three-dimensional structure of a surface.

Visual texture, on the other hand, may be illusory or real. Our senses of sight and touch are closely intertwined. As our eyes read the visual texture of a surface, we often respond to its apparent tactile quality without actually touching it.

We base these physical reactions to the textural qualities of surfaces on previous associations with similar materials. Texture is intertwined with our senses of sight and touch. All materials have some degree of texture, but the finer the scale of a textural pattern is, the smoother it will appear to be. Even coarse textures, when seen from a distance, can appear to be relatively smooth.

The relative scale of a texture can affect the apparent shape and position of a plane in space. Coarse textures can make a plane appear closer, reduce its scale, and increase its visual weight. In general, textures tend to fill the space in which they exist visually.

Direct light falling across a surface with physical texture will enhance its visual texture. Diffused lighting deemphasizes physical texture and can even obscure its three-dimensional structure. Smooth, shiny surfaces reflect light brilliantly, appear sharply in focus, and attract our attention.

Surfaces with a matte or medium-rough texture absorb and diffuse light unevenly and, therefore, appear less bright than similarly colored but smoother surfaces. Very rough surfaces, when illuminated with direct lighting, cast Lighting direction affects our reading of texture. Shiny surfaces reflect. Matte surfaces diffuse. A texture seen against a uniformly smooth background will appear more obvious than when placed in juxtaposition with a similar texture.

When seen against a coarser background, the texture will appear to be finer and reduced in scale. Finally, texture is a factor in the maintenance of the materials and surfaces of a space. Smooth surfaces show dirt and wear but are relatively easy to clean, while rough surfaces may conceal dirt but may also be more difficult to maintain. Contrast affects the apparent strength or subtlety of adjacent textures.

Texture can also result from the manner in which materials are assembled in construction. Pattern is the decorative design or ornamentation of a surface that is almost always Motif Pattern based on the repetition of a motif—a distinctive and recurring shape, form, or color in a design.

The repetitive nature of a pattern often gives the ornamented surface a textural quality as well. When the elements that create a pattern become so small that they lose their individual identity and blend together, they become more texture than pattern. A pattern may be integral or applied. An integral pattern results from the intrinsic nature of a material and the way it is processed, fabricated, or assembled. An applied pattern is added to a surface after it is fabricated or built.

A pattern reduced in scale becomes texture. How we combine and compose differing textures is just as important as the composition of color and light, and should suit the desired character and use of a space. The scale of a textural pattern should be related to the scale of a space and its major surfaces, as well as to Minimal texture Textured the size of secondary elements within the space.

Since texture tends to visually fill space, any textures used in a small room should be subtle or used sparingly. In a large room, texture can be used to reduce the scale of the space or to define a more intimate area within it. A room with little textural variation can be bland. Combinations of hard and soft, even and uneven, and shiny and dull textures can be used to create variety and interest.

In the selection and distribution of textures, Texture filling space Competing textures moderation should be exercised and attention paid to their ordering and sequence.

Harmony among contrasting textures can be sustained if they share a common trait, such as degree of light reflectance or visual weight. Conceptually and in reality, a volume exists in three dimensions. Form is the term we use to describe the contour and overall structure of a volume. The specific form of a volume is determined by the shapes and interrelationships of the lines and planes that describe its boundaries.

As the three-dimensional element of architectural and interior design, a volume can be either a solid space displaced by the mass of a building or building element or a void space contained and defined by wall, floor, and ceiling or roof planes. It is important to perceive this duality of containment versus displacement, especially when reading orthographic plans, elevations, and sections.

Visible forms give space dimension, scale, color, and texture, while space reveals the forms. This symbiotic relationship between form and space can be seen at several scales in interior design. We are surrounded by color in our environmental settings. The colors we attribute to objects find their source in the light that illuminates and reveals form and space.

Without light, color does not exist. The science of physics deals with color as a property of light. Within the visible spectrum of light, color is determined by wavelength. Starting at the longest wavelength with red, we proceed through the spectrum of orange, yellow, green, blue, and violet to arrive at the shortest visible wavelengths.

When these colored lights are present in a light source in approximately equal quantities, they combine to produce white light—light that is apparently colorless. The surface of the object absorbs es. Our eyes inat apprehend the color of the reflected light as the color of dom the object. Some light sources—such as some electric lamps or light reflected off a colored wall—may not be well balanced and thus lack part of the spectrum.

This lack of certain colors will make a surface illuminated by such light appear to lack those colors. America precisa de mais tempo. Extra: Felizes Para Sempre. Procura-se: Uma noite juntos, sem compromisso.

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