Pallasmaa,J (2005). The eyes of the skin. West Sussex: John Wiley & Sons LTD. 24-35/54-58


Pallasmaa discusses how the senses inform how we utilise visual space and argues that we have lost our relationship with exploring space with most of our senses due to the nature of contemporary culture.


"The gradually growing hegemony of the eye seems to be parallel with the development of Western ego-consciousness and the gradually increasing separation of the self and the world". (Pallasmaa 2005 pg 25)


Through image and replication we lose our relationship with space and surrounding areas around it Pallasmaa argues. As designers we use a plethora of different methods to discuss sensory hierarchy in space; primarily through visual methods, however using sound and touch we can create secondary interest with the viewer.

Although Pallasmaa discusses that cultural shifts have moved the way in which we catagorise the importance of senses, it can now be utilized in both Architecture and design. Understanding the balance between the relationships of the senses allows us to develop grid formats to reach every viewer.

For instance, although we now understand building with knowledge of space restrictions and visual aesthetics in design, we also add in other sensory devices such as texture and 3D form within 2D design.

Sharr,A (2007). Heidegger for Architects. Abingdon: Routledge. 21-55.

Sharr sets out to describe the nature of lectures and papers written by 'Martin Heidegger'. This literature discusses and questions the nature of space, do we dwell in space or just build? discussing contemporary living. "He drew attention to to terms like 'residential' and 'housing' which emphasise production systems over the priorities of human in habitation."(Sharr 2007 pg 39)
The nature in which we inhabit space is questioned throughout the book with a view to architecture, "Building as construction' or 'building with nurturing'(Sharr 2007 pg 40) how do we occupy our space and what emotional involvement do we have with it? 
As we become involved with Heideggers notions on space we can begin to discuss personal notions on defining space and recognising the difference between a place or the edge of it or boundary. As designers we interact with space developing a place, within a magazine layout that an image may sit, surrounded by a boundary discussed by body text. However we may not dwell within these spaces for long, we construct them for the viewer to dwell in, to build a emotional connection with. Therefore our personal understanding of building these spaces using grids can inform a relationship with the viewer much in the same way an architect would discuss a structure.

Schulz,B. (2012). Design Architecture. Novum. 6 (6), 40-41

Architectural design is evident and applied throughout negative and redundant space its grids applied to inform our travel of reference the space. However architecture is also visible within design formats when discussing visual hierarchy and structure in more literal senses.
Bornstein & Sponchiado explored these ideas when developing a new visual identity for 'Spirale Architects'. Structuring letter forms and using negative space and grid to explore by using the deconstruction of words Bornstein & Sponchiado explore architecture through they medium of typography. 
It is obvious the construction within the space describes the contemporary ideas of the company and the grid system used explains new ideas in the architectural arena. Exploring space in this way draws the viewer in and creates questions that are easily answered when reflected on.

Bornstein & Sponchiado

 

Avella,N. (2008). shape Shifter. Grafik. 166 (10), 64-69.

3D forms discussed within 2D space Bataille's publication ABC3D looks at how  letter form can be described in 3D form. The publication released in 2008 a simple format was created to discuss 'movement that would fit the structure of each letter' (Bataille 2008).

Although the design style references childlike pop up books, the nature of the 3D type within it describes shape using the characteristics of each letter form to explore the negative space within the page.

Marion Bataille

 

Wong,A. (2010). Slobodan Zivic. International designers network. 17 (6), 46-48.

Swedish designer Zivic disrupts space using line and space creating pieces that encapsulate the viewer. Using shape to frame the main visual elements within the design Zivic explores interesting developments of interacting with the space he is working within. 
Exploring space in this way could be discussed within all mediums redefining and experimenting with how how we identify with key aspects of a space could develop new ideas on how a viewer experiences a space. For instance Zivics space describes a playful but thoughtful expanse with its playful shape and depth of the landscape.


Slobodan zivic

     

Wong,A. (2009). Domus. International designers network. 16 (5), 30-36.

Aesthetics of space is the understanding that as we journey through a space in this example a publication. We need to surprise the viewer to keep their eyes moving fluidly across each layout. Creating impact within space by using texture and paper mechanics will discuss this idea however we must understand the nature of demographic we are working for. Then texture and paper mechanics no longer discusses aesthetics but builds a relationship with architecture. 
Onlab have an interesting way of building this relationship in their publications whether with typographic elements or by paper mechanics exploring the visual lines of a space, this builds a 3d structure on a 2d page. 



Onlab

          

Wong,A. (2012). Volcanic passions unleashed in cold climate.International designers network. 19 (3), 41-89.

The playful nature in which these designers re-define space and object, makes the viewer re identify with the structure of the space and visual hierarchy. "Icelandic style is very playful, our designers are quite conscious of their cultural heritage". (Arnadottir 2012)
Questioning how we relate to space and applying new use to the structure of an object builds on the aesthetics of a space but moreover adds a new identity within the  non-space that develops. Balance is key when developing a grid structure, understanding the visual eye and its relationship with negative space.It is integral to our practice as designers and creating effective graphic projects.
  

Thor Arnadottir 

 


Parliefur Gunnar

   










Goumundor igni ulfarsson

Tondreau, B (2011). Layout Essentials. Massachusetts: Rockport. 10-19/156.

Understanding the rules of how grids are implemented re-enforces our knowledge space. Using the defined rules for layout design creates a readability and flow to communicate with the viewer. 
Building a structure is a fundamental element in the successful application of design. Moreover understanding a client base we may work for as Tondreau explains helps to build a relationship with the reader and the space their eyes occupy." Grids are the most misunderstood and misused element in page layout. A grid is only useful if it is derived from the material it is intended to handle."

( Tondreau, B 2009, pg 2 , Birdstall 'Notes on book design'.)

Ambrose/Harris (2006). Print and Finish. London: AVA. 46-64/110-130.

Print and finish looks at way in which designers enhance the finish to the product they are developing implementing new ways to discuss grids to communicate aesthetics and fetishisation using simple graphic devices. 

Viewing a 2D project and then questioning how you can develop it further by adding new dimensions. This enhances the negative space produced by the layout using embossing and relief for instance this will create texture and develop interest.

Auge, A (1995). Non-Places. London: Verso. 75-116.

Auge conceptualises space we move around. How we define space and questions the way we perceive it. With a view to Non-place Auge discusses how building new space informs redundant space.
"Supermodernity produces non-places, meaning spaces which are not themselves anthropological places and which unlike Baudelairean modernity, do not integrate the earlier places." (Auge, M 1995 p 78.)
Understanding how spaces are affected by how we build educates us to incorporate lost space into planning our structure whether on paper or on a larger scale. Developing our knowledge of space creates a more effective way to discuss the idea we are trying to communicate.

Moseley, B. (2011). A Plan for Plymouth. Available: http://plymouthdata.info/Plan
%20for%20Plymouth.htm. Last accessed 14th Nov 2012.

After the end of WW2 it was necessary to implement a new structure to the city of Plymouth. Congestion and overcrowding in the city had lead to a re think of the city's layout, moreover the space that had become redundant.
Sir Patrick Abercrombie and engineer Paton Watson redefined the space of Plymouth using a grid system that implemented a hierarchic format making use of the redundant space left after bombing. 
Built around a central element (Central Park) the grid defines key points around the city allowing us the viewer to travel through non-space in much the same way an editorial designer transports us through a page layout.  

Hampshire, M & Stephenson, K (2007). Squares, checks and grids. Hove: Rotovision. 6 - 188.

This piece looks at how we relate to space using pattern, indentifying with a space and applying a function through the medium of pattern. Whether accidental of man made patterns become a part of everyday living describing the movement of water of exposing the relief of a place someone once sat therefore the patterns are important as they allow us to mark space or question its purpose. 
This book shows how different types of spaces can be explored as grid systems and moreover asks us to question how we relate to the space we occupy.

Calvino, I (1974). Invisible Cities. 2nd ed. Lonodon: Secker and Warburg. 5 - 148.

Calvino discusses a conversation between an emperor and explorer. The book made of short stories allows us to take a literal journey through each of the cities describing the details and contextualising the space both negative and positive. 
There is an evident language barrier between the two characters their conversations develop a story within a story developing a hierarchy of narratives within the piece, that is reflected in the nature that the cities are described.  

Poynor, R (2003). No More Rules: Graphic Design and postmodernism. London: Laurence King Publishing Ltd.

No more rules looks at the way we as designers need to understand the application of different rules based on successful visual aesthetics. However it also covers history of  postmodernist designers that would break these rules attempting to create work of an experimental nature.

Certeau,M(1988).The Practice of Everyday Life. London: University of California Press. Pg 91- 131. 

Certeau takes us on a literary walk through from Manhattan the cityscape's  and overviews discussing ideas from economics structure to 'notions of residing rhetoric'. (Certeau pg 100) Certeau implies the space is a living organism although refers to mechanical features giving the sense that the structures are cold and lifeless. Describing a personal relationship with the space and how we might journey through it.  

Perec,G (1999). Species of Space. London: Penguin . pg57-71.

Perec discusses the areas in which dwell and asks use to question how we view these areas how the are maintained and the emotional connection we have with them. "I like my town but I cant say what I like about  it." (Perec pg 63) Moreover Perec asks us to build a relationship with negative or non space giving areas we have not explored an identity. 'The surprise and disappointment of travelling. The illusion of having overcome distance, of having erased time. To be far away. (Perec pg 77).