DESIGN PRINCIPLE A FUNDAMENTAL and COMPREHENSIVE CONCEPT OF VISUAL PERCEPTION FOR STRUCTURING AND AESTHETIC COMPOSITION

THE ARRANGEMENT OF PARTS OR ELEMENTS INTO PROPER PROPORTION OR RELATION SO AS TO FORM A UNIFIED WHOLE.

A BRANCH OF PHILOSOPHY THAT DEALS WITH THE NATURE OF ART, BEAUTY, AND TASTE, WITH A VIEW TO ESTABLISHING THE MEANING AND VALIDITY OF CRITICAL JUDGEMENTS CONCERNING WORKS OF ART

 A PLEASING OR HARMONIOUS ARRANGEMENT OR PROPORTION OF PARTS OR ELEMENTS IN A DESIGN OR COMPOSITION. THE CONCEPT OF VISUAL EQUILIBRIUM and STABILITY

ALSO KNOWN AS FORMAL BALANCE THIS CAN BE DESCRIBED AS THE EXACT CORRESPONDENCE IN SIZE, FORM and ARRANGEMENT OF PARTS ON EQUAL SIDES OF A CENTRALLY PLACED FULCRUM (AXIS)

AXIS A straight line to which elements in a composition are referred for measurement or symmetry

ALSO KNOWN AS INFORMAL, OCCULT OR ACTIVE BALANCE THIS IS ACHIEVED WHEN VISUAL WEIGHTS ARE EQUIVALENT BUT NOT IDENTICAL, THE HEAVY WEIGHT BEING NEARER THE CENTER, IN ORDER TO COUNTERBALANCE THE LIGHTER FAR AWAY. THIS IS A FORM OF BALANCE THAT ATTEMPTS TO SATISFY THE EYE WITHOUT ANY EFFORT TO PLACE EQUAL MASSES TO SIMILAR DISTANCES FROM THE CENTER OF THE COMPOSITION

AXIS A straight line to which elements in a composition are referred for measurement or symmetry

A POSSIBLE RESULT OF FORMAL BALANCE BY ARRANGING ELEMENTS AROUND A CENTRAL POINT

AXIS A straight line to which elements in a composition are referred for measurement or symmetry

A COMPLETE ADAPTATION TO THE SURROUNDINGS THIS QUALITY IS NOT COMPOSED BUT FREELY RESULTS FROM TIME AND FORCES OF NATURE IT IS A SENSED STATE OF EQUILIBRIUM

AXIS A straight line to which elements in a composition are referred for measurement or symmetry

 A FEELING OF UNITY CREATED WHEN ALL PARTS (SIZES, AMOUNTS OR NUMBER) RELATE WELL

NATURAL MATERIAL PROPORTION

TIMBER COLUMNS

CONCRETE HOLLOW BLOCKS

MANUFACTURED PROPORTION

CATHEDRAL HEIGHT

REQUIREMENTS OF THE PROGRAM, FUNCTION OR GOVERNMENT ORDINANCE

FLOOR TILES

TRADITIONS AND GENERALLY ACCEPTED TASTES

MODE OF CONSTRUCTION

THE NAUTILUS SHELL

FIBONACCI SERIES EACH TERM IS THE SUM OF THE TWO PRECEEDING TERMS 1,1,2,3,5,TO INFINITY

THE GOLDEN MEAN OR GOLDEN SECTION

THIS IS USED TO GET THE MOST PLEASING RECTANGULAR PROPORTION. IT IS DEFINED GEOMETRICALLY AS A LINE THAT IS DIVIDED SUCH THAT THE LESSER PORTION IS TO BE THE WHOLE. IT IS DERIVED FROM THE PYTHAGOREAN THEOREM MATHEMATICAL PROPORTIONS.

 THIS IS A THEORY DERIVED FROM THE GOLDEN RECTANGLE THEORY THE BASIS: EQUILATERAL TRIANGLES AND CIRCLES THE BASIC UNIT: DIAMETER GREEK and ROMAN ORDERS REPRESENTED THE PROPORTION OF ELEMENTS, THE PERFECT EXPRESSION OF BEAUTY and HARMONY COLUMNS HAVE NO FIXED UNIT OF MEASUREMENT IT IS DONE ACCORDING TO PROPORTION AND HARMONY

THE CLASSICAL THEORIES

 THIS SYSTEM TAKES INTO CONSIDERATION THE PROPORTION OF THE HUMAN BODIES AND ITS FUNCTIONAL DIMENSIONS. MODULOR IS NOT MERELY A SERIES OF NUMBERS WITH INGHERENT HARMONY, BUT A SYSTEM OF MEASUREMENTS THAT COULD GOVERN LENGTHS, SURFACES and VOLUMES, AND STRIVES TO MAINTAIN HUMAN SCALE EVERYWHERE. LE CORBUSIER FOLLOWED A GRID OF 113, 70 and 43cm the STANDARD MEASUREMENT OF A SIX FOOTER MAN.

THE MODULOR

IN JAPAN, THE SIZE OF A ROOM IS TYPICALLY MEASURED BY THE NUMBER OF TATAMI MATS IT IS ORIGINALLY USED TO DESIGNATE THE INTERVAL BETWEEN TWO COLUMNS IN VARIED SIZE, BUT WAS SOON STANDARDIZED FOR RESIDENTIAL MEASUREMENT. THIS PROPORTIONING SYSTEM USES A STANDARD TATAMI FLOOR MAT WHICH CAN ACCOMMODATE 1 PERSON SLEEPING AND 2 PEOPLE SITTING DOWN.

TATAMI MATS
Tatami ( ) Originally means "folded and piled These mats are a traditional type of Japanese flooring. Traditionally made of rice straw to form the core, with a covering of woven soft rush straw, tatami are made in uniform sizes. 1 TATAMI MAT = 3 X 6 SHAKU = KEN

UNIT:

SHAKU KEN

THE KEN

The metric measurement .91 m by 1.82 m is the same as the English measurement 3 ft x 6 ft. Some common room sizes are: 4 mats = 9 ft x 9 ft 6 mats = 9 ft x 12 ft 8 mats = 12 ft x 12 ft
INAUSPICIOUS UNFORTUNATE UNLUCKY UNFAVORABLE

SAMPLE MAT ARRANGEMENT

There are rules concerning the layout of the tatami mats in a room. In the Edo period, "auspicious" tatami arrangements and "inauspicious" tatami arrangements were distinctly differentiated, and the tatami accordingly would be rearranged depending on the occasion. Nowadays, the "auspicious" layout is ordinarily used. In this arrangement, the junctions of the tatami form a "T" shape; in the "inauspicious" arrangement, the tatami are in a grid pattern wherein the junctions form a + shape.

THE KEN

The characteristic of MC are: The basic module is small in terms of odd size in order to provide design flexibility, yet large enough to promote simplification in the components' variation in sizes. Industry friendly features that not only cater for manufacturing but also the transportation and assembly requirements. Ergonomically designed to promote efficiency Internationally accepted to support international market.

Modular Coordination (MC) is a concept for coordinating dimension and space for which buildings and components are dimensioned and MODULE positioned in basic units or modules A standard or MODULAR COORDINATION: THE MODERN SYSTEM
unit of measurement

Scale is the size of an object compared to other objects in a piece. Proportion is the size of a part of an object compared to the rest of the object.

Man w/ a Scaled Model Man @ Mt. Rushmoore

SCALE

Man a classic structure

HUMAN SCALE
The size or proportion of a building element or space, an article of furniture, relative to the structural or functional dimensions of the human body.

SCALE

VISUAL SCALE
The size or proportion of a building element appears to have relative to other elements or components of known or assumed size.

SCALE

MECHANICAL SCALE
The size or proportion of something relative to an accepted standard of measurement

SLUMP TEST SCALE

AIRPORT BUILDINGS

 REGULARITY AND RECURRENCE OF DESIGN ELEMENTS WHICH LEADS TO EXPECTANCY. REPETITION OF DESIGN ELEMENTS FOR A FEELING OR ORGANIZED MOVEMENT.

 THE PATH OUR EYES FOLLOW IN ART WORK. IT USUALLY BRINGS THE VIEWER IN, AROUND, AND THROUGH THE PIECE Movement may also be classified as dynamic. Dynamic movement is characterized by movement of the eye that flows smoothly from one area of the composition to another, guided by continuations of line or form, and by gradations of color or form. Dynamic movement is characterized by open shapes or shapes that closely relate to adjacent shapes.

THE STATE OR QUALITY OF LACKING VARIETY

A PROCESS OR CHANGE TAKING PLACE BY DEGREES OR THROUGH A SERIES OF GRADUALS SUCCESSIVE STAGES

Elements are presented in turns or in succession

STRESS OR PROMINENCE IS GIVEN TO AN ELEMENT OF A COMPOSITION.

MOTIF A DISTINCTIVE RECURRING SHAPE, FORM OR COLOR IN A DESIGN

THE STATE OR QUALITY OF HAVING DIVERSE FORMS, TYPES OR CHARACTERISTICS

 EMPHASIS IT IS DOMINANCE and ACCENTUATION IT IS THE FOCAL POINT OR POINT OF INTERRUPTION IN THE FUNDAMENTAL PATTERN OR IN THE MOVEMENT OF THE VIEWERS EYE IN A COMPOSITION. IT IS A BREAK IN THE RHYTHM

CONTRAST STRESS OR PROMINENCE IS GIVEN TO AN ELEMENT OF A COMPOSITION

SMALLER ELEMENTS VS BIGGER ELEMENTS

Repetition by sheer force of numbers

Contrast of design elements

Strategic location or position of an element Termination in a linear sequence Centerpiece in a symmetrical organization Focus of a central or radial organization

STRESS OR PROMINENCE IS GIVEN TO AN ELEMENT OF A COMPOSITION BY MEANS OF CONTRAST, ANOMALY OR COUNTERPOINT

Anomaly a deviation from the normal or expected form, order or arrangement.

JUXTAPOSITION THE STATE OR POSITION OF BEING PLACED CLOSE TOGETHER SIDE BY SIDE, SO AS TO PERMIT COMPARISON OR CONTRAST

Contrast - opposition or juxtaposition of dissimilar elements in a work of art to intensify each elements properties and produce a more dynamic expressiveness

OPPOSITION THE STATE OR POSITION OF BEING PLACED OPPOSITE ONE ANOTHER, OR OF LYING IN CORRESPONDING POSITIONS FROM AN INTERVENING SPACE OR OBJECT

CHURCH/SCHOOL, 1950s Counterpoint a parallel but contrasting element or theme in a narrative or concept

the external expression of internal qualities

Character that arises from the use of the building. This is the most important kind of character. It is the reason why a structure is being erected.

Evidenced by the influences of a traditional type. This comes from the influence of ideas and impressions related to or growing out of past experience.

The individuality or that which makes a building different from the others. These are characterized with emotional reactions.

UNITY THE FEELING OR HARMONY BETWEEN ALL PARTS OF THE WORK CREATING A SENSE OF COMPLETENESS IT SUMMARIZES ALL OF THE ELEMENTS OF DESIGN IT REFERS TO THE COHERENCE OF THE WHOLE HIERARCHY A SYSTEM OF ELEMENTS, RANKED, CLASSIFIED AND ORGANIZED ONE ABOVE ANOTHER ACCORDING TO IMPORTANCE OR SIGNIFICANCE

BELL CHURCH, BAGUIO CITY

Hierarchy refers to a system of elements, ranked, classified and organized one above another, according to importance or significance.

A STATE OF RIVALRY
ELEMENTS COMPETE WITH EACH OTHER FOR THE PLACE OF IMPORTANCE

THE PRESENCE OF TWO STRONG CONFLICTING PERSONALITIES OR MASSES RESULTING IN DISCORD OR REDUNDANCY

NO DEFINITE ARCHITECTURAL CHARACTER AND NO CENTRAL THEME