THE ANALYSIS OF THE EMOTIONAL UNDERSTANDING/ PERCEPTION OF THE OBJECT'S FORMS. 0 10 8 1 2 3 9 4 0 1 2 4 6 8 9 10 0 0 1 1 1 1 0 0 0 2 3 7 10 0 1 0 INTENSE INTERIOR. THE MOST INFLUENTIAL. HAVING RELATION WITH OUTDOOR VIEW, PASSING through small squeezed entrance that leads to ENORMOUS SPACES.decreasing and raising the main nave, due to the vast space is extremely exciting. however, side naves calms the emotions. THE EFFECT OF COMPOSITION IN RELATION WITH APPROACH TOWARDS IT IS ACHIEVED IN VARIOUS WAYS. EMOTIONAL IMPACT ALSO DIFFERS. EVEN THOUGH FROM THE FIRST GLANCE THE COMPOSITION LOOKS EMPTY OR NOT FILLED WITH THE OBSERVED OBJECT IN A NECESSARY QUANTITY OR EMOTIONAL EFFECT, THERE APPEARS EVOCATIVE HITS THAT PROVOKES OUR IMAGINATION AND PUSHES FORWARD WITH A WISH TO SEE EVERYTHING. ANOTHER SCENARIO IS ALSO POSSIBLE AS THOROUGH DEVELOPMENT OF THE OBJECT IS A CONSERVATIVE, THEREFORE SAFE WAY TO HAVE THE OBSERVER FOLLOWING THE ROUTE HONESTLY. AS THE CHURCH IS DENSELY ENCLOSED DUE TO THE HISTORICAL FACTS, ALL THE ROUTES ARE SIMILAR IN A WAY THAT ALMOST ALL OF THE HAS ONLY HINTS. MIGHT SEEM LIKE A DRAWBACK, BUT IT TURNS TO BE THE STRONGEST FEATURE OF THE OBJECT THAT ENCOURAGES TO EXPLORE AND PERCEPT IT ALL AND FINISH ONLY AFTER GETTING FULL IMAGE AND THEREFORE EMOTIONAL EXPERIENCE. 00 CONDENSED. starting from basanavicius street the route is followed by even more enclosed traku street and then flash of almost main facade.SURPRISING BUT NOT PROVIDING EVOCATIVE DETAILS 000 COHERENCE. starting from the distant view of the back side of the church, going round and at the final facing the main facade, the OBJECT IS REVEALED STEP BY STEP. the ROUTE IS THE MOST THOROUGH and HAS NO BLIND SPOTS. COHERENT RAISE OF EMOTIONAL LEVEL - CONSTANT EXCITEMENT. 0000 STRESS. starting on the hill with a picturesque view followed by a long brake and afterwards prompted only with small EVOCATIVE SUGGESTIONS, puts an emphasis on the last point. THOROUGH INCREASE IN VISUAL THEREFORE EMOTIONAL STATE. STRESS AT THE VERY END. 00000 UNEVEN. starting from basanavicius street, up the hill continues with a long blind path. hidden behind the courtyard wall inevitably comes to the maximum. REACHES THE PEAK AND HITS THE BOTTOM. displays UNEVEN SCALE OF EMOTIONS. SUDDEN CHANGES IN PERCEPTION. the analysis is carried on the PRANCISKONU CHURCH, located on the boundary of the old town of vilnius. the interest field is dealing with THE PERCEPTION OF THE OBJECT AND THE EMOTIONAL ASPECT. four exterior and one interior routes were chosen as exploration with different observation points here is essential and provides the full understanding of the possible emotional impact of the object. here main criteria becomes OBJECT SHAPE AND ATTRACTIVENESS, RELATION WITH SPACES, RELATION WITH DOMINANT SPACES, DISTANCE, PREVIOUS IMPRESSIONS, COMPLEXITY OF THE ROUTE. 0 00 000 0000 BASANAVICIAUS STREET TRAKU STREET LYDOS STREET open space opens the view. the object is found as pleasantly inscribed in the silhouette of the town and the overall view is emotionally strong after a pause, space slightly widens offering the view of the highest cross. even though the surroundings is lacking aesthetics, the hint is attracting and close enough to invite parking lot dominates in the view however the cross is closer. old church complex boundaries emerge the interspace becomes tight, pressure raises therefore vertical elements of the church is even more emphasized and works emotionally strongly full view is revealed. strong sense of pressure of the previous image changes into admiration the vertical object overwhelms the observer - pinnacle of emotions object is graciously interlaced in the panorama. perspective is involving due to the general impression view is closed and narrow, horizontal elements dominates. however this just make vertical crosses strive to stand out the ratio of vertical and horizontal changes, narrow space is pushing the observer with anticipation forward horizontality returns, narrow space and reminisce of the previous state reduces emotional perception narrow space maintains negative pressure. this inconvenient emotional condition and hint causes movement towards the object full view is revealed. strong sense of pressure of the previous image changes into admiration the vertical object overwhelms the observer - pinnacle of emotions semi-enclosed space, object appears modestly the ratio of the object in environment increases along with emotions continuation of fluent increase. no opposition between the strength of emotion and the view. traditional secure development space becomes more narrow, scale increases. strong changes visibly impacts the level of emotion interspace reaches the minimum, object oversize the field of perception. this generates almost the strongest emotions impression falls off as the close distances diminishes - perspectives reminds of the former impact object is graciously interlaced in the panorama. perspective is involving due to the general impression after a long blind enclosed path, space suddenly changes - it becomes wider, contours of the church appears behind the trees. alteration of environment causes excitement going deeper, the relative scale starts to alter - object stands out and occupies the space becoming the focal point of surroundings and therefore evoking its' significance the vertical object overwhelms the observer - sudden pinnacle of emotions pinnacle of emotions (exterior) squeeze of entrance enormous change in perception. importance of the reminisce of former stage spaciousness, importance of aesthetics intimacy, relative enclosure of space chamber perception