THEORY OF ARCHITECTURE 1 AND 2

SCALE AND PROPORTION

All materials have rational proportions which are dictated by their

Material Proportion
inherent strengths and weaknesses
The size and proportion of structural elements are directly related to the
Structural structural tasks they perform and can therefore be visual indicators of
Proportions the size and scale of the spaces they help enclose.
Materials and building elements sized and proportion by the process of
Manufactured
manufacturing.
Proportions

PROPORTIONING SYSTEMS
The comparative, proper, or harmonious relation of one part to another
Proportion or to the whole with respect to magnitude, quantity, or degree.
The equality between two ratios in which the first of the four terms
divided by the second equals the third divided by the fourth.

The relation in magnitude, quantity, or degree between two or more

Ratio
similar things.

Eurhythmy Harmony of proportion or movement.

The unending sequence of numbers where the first two terms are 1 and
Fibonacci Series, 1, and each succeeding term is the sum of the two immediately
Fibonacci Sequence preceding.
A series in which the terms are in harmonic progression.
Harmonic Series
A sequence of numbers the reciprocals of which form an arithmetic
Harmonic
progression.
Progression
A certain proportionate size, extent, or degree, usually judged in relation
Scale to some standard or point of reference.
The size or proportion of a building element or space, or an article of
furniture, relative to the structural or functional dimensions of the human
Human Scale
body.
The size or proportion of something relative to an accepted standard of
Mechanical Scale measurement.
The size or proportion a building element appears to have relative to
Visual Scale other elements or components of known or assumed size.
A unit of measurement used for standardizing the dimensions of building
Module materials or regulating the proportions of an architectural composition.

THEORIES OF PROPORTION
The intent of all theories of proportions is to create a sense of order and harmony among the
elements in a visual construction.
Proportion systems go beyond the functional and technical determinants of architectural form
and space to provide an aesthetic rationale for their dimensions.
They can visually unify the multiplicity of elements in an architectural design by having all of
 its parts belong to the same family f proportions.
They can provide a sense of order in, and heighten the continuity of a sequence of spaces.
They can establish relationships between the exterior and interior elements of a building.

GOLDEN SECTION (GOLDEN MEAN)

A proportion between the two dimensions of a plane figure or the two divisions of a line, in
which the ration of the smaller to the larger is the same as the ratio of the larger to the whole:
a ratio of approx. 0.618 to 1.000.
The Golden Section has some remarkable algebraic and geometric properties that account for
its existence in architecture as well as in the structures of many living organisms.
Any progression based on the Golden Section is at once additive and geometrical.
A rectangle whose sides are proportioned according to the Golden Section is known as a
Golden Rectangle.
The diagonals of two rectangles which are either parallel or
perpendicular to each other that indicate that the two rectangles have
Regulating Lines similar proportions, as well as the lines that indicate the common
alignment of elements.

RENAISSANCE THEORIES
The architects of the Renaissance, believing that their buildings had to belong to a higher
order, returned to the Greek mathematical system of proportions.
The Greeks conceived music to be geometry translated into sound, Renaissance architects
believed that architecture was mathematics translated into spatial units.
Renaissance architects applied Pythagorass theory of means to the ratios of the intervals of
the Greek musical scale, and soon developed an unbroken progression of ratios that formed
the basis for the proportions of their architecture.

MODULOR
Le Corbusiers own proportioning system developed in 1942 published as: The Modulor: A
Harmonious Measure to the Human Sale Universally Applicable to Architecture and
Mechanics. : To order the dimensions of that which contains and that which is contained.
He saw the measuring tools of the Greeks, Egyptians, and other high civilizations as being
infinitely rich and subtle because they formed part of the mathematics of the human body,
gracious, elegant, and firm, the source of that harmony which moves us, beauty.
He based the Modulor on both mathematics (the aesthetic dimension of the Golden Section
and the Fibonacci Series), and the proportions of the human body (functional dimensions).
He saw it not merely as a series of numbers with an inherent harmony, but as a system of
measurements that could govern lengths, surfaces, and volumes, and maintain the human
scale everywhere. It could lend itself to infinity of combinations; it ensures unity with
diversity, the miracle of numbers...
ERGONOMICS ( HUMAN ENGINEERING)
An applied science concerned with the characteristics of people that
Human Factors in need to be considered in the design of devices and systems in order that
Design people and things will interact effectively and safely.

Structural Any of the dimensions of the human body and its parts.
Dimension
Any of the dimensions determined by bodily position and movement, as
Functional
reach, stride, or clearance.
Dimension
 The correspondence between the size and posture of a human body and
Static Fit a building element or article of furniture.
The correspondence between the sensory experience of bodily presence
Dynamic Fit and movement and the size and, shape, and proportion of a space.
Of or pertaining to space, buildings, and facilities fully accessible and
Barrier Free usable by all people, including the physically handicapped.
ARCHITECTURAL CONCEPTS
A mental image or formulation of what something is or ought to be, esp.
Concept an idea generalized from particular characteristics or instances.
A concept for the form, structure, and features of a building or other
construction, represented graphically by diagrams, plans, or other
Design Concept
drawings.

Scheme An underlying organizational pattern or structure for a design.

The original scheme for a design presented in the form of a sketch
Projet outlining its specific character, to be developed in later studies.
Abstract thought or speculation resulting in a system of assumptions or
principles used in analyzing, explaining, or predicting phenomena, and
Theory
proposed or followed as the basis of action.

Abstract Thought of without reference to concrete reality or a particular instance.

A fundamental and comprehensive law, truth, or assumption governing
Principle action, procedure, or arrangement.
The study of creative processes esp. as applied to the stating and
solution of problems that involves free use of metaphor and analogy in
Synetics
informal interchange with a small group of diverse individuals.
An object, activity, or idea used in place of another to suggest a likeness
Metaphor between them.
A similarity in some particulars between them things otherwise
dissimilar: specifically a logical inference based on the assumption that if
Analogy two things are known to be alike in some respects, then they will
probably be alike in other respects.

THEMATIC ARCHITECTURAL CONCEPTS

Analogies Literally relating from with other objects or processes.

A comparison between general qualities of the two objects.
Symbolic Analogy

Direct Analogy Compares parallel facts or operations.

Personal Analogy The designer identifies himself directly with the elements of the problem.

Architecture based on human, animal, or plant anatomy (concept of

Biological Analogy
Organic Architecture).

Morphology Science of form.

Fantasy Analogy Uses a description of an ideal condition desired as a source for ideas.

Structural Analogy Referring to shape or relationship.

 Scientific evolution and artistic evolutions follow the same laws.
Mechanical Analogy Movement and function.

Control Analogy Maintaining a condition.

Man: Imagination and choice. Society: Interaction, competition,

Cultural Analogy
organization.
Emotions and experiencing emotions. Vocabulary and composition.
Linguistic Analogy

STRUCTURAL CONCEPT
A structure or structural member that redirects external forces primarily
Bulk-Active
through the bulk and continuity of its material.
Structure
A type of construction characterized by the use of vertical columns (post)
Post and Lintel
and a horizontal beam (lintel) to carry a load over an opening.
Construction
A straight bar of masonry in which the lateral thrusts of a roof or vault
are taken up, usually sloping, carried on an arch, and a solid pier or
Flying Buttress
buttress sufficient to receive the thrusts.
A structure that redirects external forces primarily through the
Vector Active
composition of tension and compression members.
Structure
A structure composed of a combination of members, usually in some
Truss triangular arrangement so as to constitute a rigid framework.
Any 3D structural frameworks as a contrasted with a plane frame all of
Space Frame whose elements lie in a single plane.
A structure consisting of a multiplicity of similar, light, straight-line
Geodesic Dome elements (usually in tension) which form a grid in the shape of a dome.
A system of framing a wooden building; all vertical structural elements of
the exterior bearing walls and partitions consist of single studs which
Light Frame
extend the full height of the frame, from the top off the sole plate to the
Construction
roof plate; all floor joists are fastened by nails to studs.
A timber framework in which the studs are only one story high; the floor
joists of each story rest on the top plates of the story below or on the
Platform Frame
foundation sill for the first story, and the bearing walls and positions rest
Construction
on the subfloor of each story.
Flooring construction making it as one integral slab, and spanning the
Structural Grid flooring in two directions supported by a rectilinear grid of beams.

Surface Active A structure that redirects external forces primarily along the continuity of
Structure a surface.
The upper part of a reinforced concrete floor, which is carried on beams
below. A concrete mat poured on subgrade, serving as a floor rather than
Structural Slabs
as a structural member.
A rigid, planar, usually monolithic structure that disperses applied loads
in a multidirectional pattern, with the loads generally following the
Plate
shortest and stiffest routes to the supports.
A thin, curved plate structure, Shaped t transmit applied forces by
compressive, tensile, and shear stresses acting in the plane of the
Shell
surface.
 Barrel Shell A rigid cylindrical shell structure.
A shell structure constructed of reinforced concrete.
Thin Shell
A vaulted structure having a circular plan and usually the form of a
portion of a sphere, so constructed as to exert an equal thrust in all
Dome
direction.

Semicircular Dome A dome having the form of a hemisphere.

A dome having the form of a segment of a sphere, with its center well
Saucer Dome below the springing line.
A dome built with steel or timber trusses arranged in a radial manner
Radial Dome and connected by polygonal rings at various heights.
A spherical dome formed by removing 4 segments so that it merges with
Pendentive Dome its pendentives and sits on a square plan.
A steel dome structure having members which follow the circles of
latitude, and two sets of diagonals replacing the lines of longitude and
Lattice Dome
forming a series of isosceles triangles.
A steel dome having members which follow the lines of latitude and
Schwedler Dome longitude, and a third set of diagonals completing the triangulation.
An arched structure of stone, brick, or reinforced concrete, forming a
ceiling or roof over a hall, room, or other wholly or partially enclosed
Vaults
space.
A horizontal rib marking the crown of a vaulting compartment.
Ridge Rib
The keystone at the crown of an arch or at the intersection of two or
Key more vaulting ribs.
A rib spanning the longitudinal axis of a rib vault and dividing it into bays
Arc Doubleau,
or compartments.
Transverse Rib
A rib springing from a point of support on either side of the ogives or
Tierceron transverse ribs of a rib vault.

Ogive, Diagonal A rib crossing a compartment of a rib vault on a diagonal.

Rib, Groin Rib
A rib against a wall, parallel to the longitudinal axis of a rib vault.
Formeret, Wall Rib
A structure or structural member that redirects external forces primarily
Form-active
through the form of its material.
Structure
A curve structure for spanning an opening, designed to support a vertical
Arch load primarily by axial compression.
Tent-like fabric diaphragms stretched over cables that are stretched over
Tensile Structure posts.
Invented by Kenneth Snelson, Space frames with steel or aluminum-pipe
Tensegrity Structure compression members and steel-cable tension members.
A membrane structure that is placed in tension and stabilized by the
Pneumatic
pressure of compressed air.
Structure
A high-rise structure having perimeter lateral force-resisting systems
Tube Structure internally braced by rigid floor diaphragms. A tube structure acts as a
 cantilevered box beam in resisting lateral forces.
Perforated Shell A tube structure having perimeter shear walls with less than 30% of the
Tube surface area perforated by openings.
A framed tube structure tied together by a system of diagonal braces.
Braced Tube
A tube structure having closely spaced perimeter columns rigidly
Framed Tube connected by deep spandrel beams.
A braced tube structure having trussed wall frames or widely spaced
Trussed Tube columns tied together by diagonal or cross bracing.
An assembly of narrow tubes tied directly to each other to form a
modular structure that behaves like a multicellular box girder
cantilevering out of the ground. More tubes are sometimes provided in
Bundled Tube
the lower portion of a tall structure where greater lateral force resistance
is needed.
A braced tube structure having perimeter frames of closely spaced
Latticed Truss Tube diagonals with no vertical columns.
Tube-in-tube A tube structure having an inner braced tube added to the perimeter
Structure tube to improve its shear stiffness in resisting lateral forces.
FUNCTIONAL CONCEPT
The natural or proper action for which something is designed, used, or
exists.
Function Traditional definition of good architecture: Vitruviuss Utilitas, Firmitas,
Venustas
Light and color as a modifying element of spaces; artificial or natural,
Environmental light can be
Theory of manipulated by design to identify places and to give places particular
Perception character
ORGANIC ARCHITECTURE
Each design component becomes an essential part of the whole such that when one is
removed, the composition will be incomplete.
Architecture is the process that organized and composes various interrelated forces into a
unified whole.
EVOLUTIONARY ARCHITECTURE
Architecture can create as nature creates.
A building can be seen as a living organism with functional processes.
The overriding objective is to reach the ultimate evolution of a design so that it is perfected
culmination of function, form and purposes within limits of budget, materials, and so forth
VERNACULAR ARCHITECTURE
A style of architecture exemplifying the commonest building techniques based on the forms
and materials of a particular historical period, region, or group of people.
Building forms are based on regional forms and materials, and concerned with ordinary
domestic and functional buildings.
PHILOSOPHICAL VIEWS IN ARCHITECTURE
A formal and systematic exposition in writing of the principles of
ARCHITECTURAL architecture and its immediate allied disciplines, generally longer and
TREATISES more detailed than an essay.
DE ARCHITECTURA (On Architecture)
Written by the Roman architect Vitruvius (born c. 8070 BCE, died after c. 15 BCE) and
dedicated to his patron, the emperor
Caesar Augustus as a guide for building projects.
Rediscovered in 1414 by the Florentine humanist Poggio Bracciolini.
One of the most important sources of modern knowledge of Roman building methods as well as
the planning and design of structures, both large (aqueducts, buildings, baths, harbours) and
small (machines, measuring devices, instruments).
Probably written around 25 BCE, it is the only contemporary source on classical architecture to
have survived in its entirety.
Divided into ten sections or "books", it covers almost every aspect of Roman architecture. The
books break down as follows:
VASTU SHASTRA (VASTU VEDA) (Science of Construction or Architecture)
According to vaastu sastra, the world comprises five basic elements
known as the pancha maha bhoota. Out of the nine planets, ours has life
Five Elements
because of the presence and balance of these five elements.
Earth, the third planet in order from the sun, is a big magnet with North
and South poles as centers of attractions. Its magnetic field and
EARTH (Bhumi) gravitational force has considerable effects on everything on the Earth,
living and non-living.
This is represented by rain, river, and sea and is in the form of liquid,
solid (ice) and gas (steam, cloud). It forms part of every plant and
WATER (Jala)
animal. Our blood is nothing but water with hemoglobin and oxygen.
As a life supporting element, air is a very powerful life source. Human
physical comfort values are directly and sensitively dependent on correct
AIR (Vayu) humidity, air flow, temperature of air, air pressure, air composition and
its content.
Represents light and heat which account for day, night, the seasons,
FIRE (Agni) energy, enthusiasm, passion and vigor.
Provides shelter to all the above elements. It is also considered the
primary conductor of all energy sources within the universal context -
physical energies such as sound and light, social energies such as
SPACE (Akasha)
psychological and emotional, and cognitive energies such as intellect
and intuition.
DE RE AEDIFICATORIA LIBRI DECEM (On the Art of Building)
Written by Leon Battista Alberti between 1443 and 1452.
Largely dependent on Vitruvius' De architectura.
The first theoretical book on the subject written in the Italian Renaissance and in 1485 became
the first printed book on architecture. It was followed in 1486 with the first printed edition of
Vitruvius.
PROXEMICS
The study of the symbolic and communicative role of the spatial individuals maintain in various
social and interpersonal situations, and how the nature and degree of this spatial arrangement
relates to environmental and cultural factors.
CULTURE AS COMMUNICATION
The integrated pattern of human knowledge, beliefs, and behavior built
up by a group of human beings and transmitted from one generation to
CULTURE
the next.
The expression, conveyance, or interchange of ideas, information, or the
like by writing, speaking, or through a common system of signs or
COMMUNICATION
symbols, especially in a way that is clearly and readily understood.
The human speech and all words used by a people. Also, any means of
LANGUAGE expressing thought. It is a major element in the formation of thought
If the adumbrative process is short-circuited or bypassed vicious fighting
Animals is part to occur.
VISUAL AND AUDITORY SPACE
 The act or power of seeing; the sense of sight.
Vision
The act or power of seeing with the eye.
Sight
Receiving of energy input in the form of light.
Reception
Basic visual features and extracted.
Extraction
On the basics of these extracted features, inferences are made about our
Inference. world.
Relating to or based on the sense of hearing. In normally alert subject, it
is probable that the eyes may be as much as a thousand times as
Auditory
effective as the ears in sweeping up information.
OLFACTORY
Relating to or based on the sense of smell.
Olfactory
One of the earliest and most basic methods of communication
Odor
PERCEPTION OF SPACE : IMMEDIATE RECEPTORS (SKIN AND MUSCLES)
The sensory experience of bodily position, presence, or movement
Kinesthesia derived chiefly from stimulation of nerve ending in muscles, tendons,
(Kinesthetic) and joints.

Early Japanese Stretching of visual space by exaggerating kinesthetic experience.

Gardens
Spatial experience is clear
Japanese Interiors
Thermal Space

Factor Involved in The Nervous System, Emotional States, Blood Supply, Temperature
Thermal Space
Tactile Space
Relating to or based on the sense of touch. Touch and visual spatial
Haptic experience interwoven and cannot be separated.
VISUAL SPACE
An awareness derived by the visual system in response to an external
VISUAL
stimulus
PERCEPTION

VISION AS Man learns while he sees and what he learns influences what he sees.
SYNTHESIS
THE IMPLICATIONS OF THE STRUCTURE OF THE EYE FOR THE DESIGN OF SPACE
Movement is exaggerated at the periphery of the eye.
Straight edges, alternates black and yellow. Has the highest visual impact.
Regularly spaced columns exaggerate the sense of movement.
To increase the speed of the motorist in tunnel, it is necessary to reduce the number of visual
impact that flash by at eye level.
In libraries, restaurant, public spaces, cutting down on movement in the peripheral fields
should reduce the sense of crowding.
MANS VARIOUS SYSTEM OF DEPTH PERCEPTION AS HE MOVES THROUGH SPACE
Perspectives of Position
 The gradual increase in the density of the texture of a surface as it
Texture Perspective recedes in the distance.
As the object get farther away they decrease in size
Size Perspective
The most commonly know form of perspective. A mathematical system
for representing 3-D objects and spatial relationships on a 2-D surface by
Linear Perspective
means of perspective projection.
Perspective of Parallax
Operates very much out of awareness. The separation of the eye
projection each a different image.
Binocular
Closing and opening one eye and then the makes the differences in the
Perspective
images apparent.
As one moves forward in space, the closer one approaches a stationary
object, the faster it appears to move.
Motion Perspective Objects moving at uniform speeds appear to be moving more slowly as
distance increases.
Perspectives Independent of the Position or Motion of the Observer
Derived from the increased haziness and changes in color due to the
intervening atmosphere.
It is an indicator of distance but not as stable and reliable as some of the
Aerial Perspective/
other forms of perspective.
Atmospheric
In drawing, a technique for rendering depth or distance by muting the
Perspective
hue, tone, and distinctness of objects perceived as receding from the
picture plane.
Evident when focusing on an object held out in front of the face so that
the background is blurred.
The Perspective of
Object in a visual plane other than the one which the eyes are focused
Blur
will be seen less distinctly.
The Horizon is seen as a line at about eye level.
The Surface of the globe climbs, as it where, from ones feet to eye level.
Relative Upward The Surface of the globe climbs, as it where, from ones feet to eye level.
Location in the The further from the ground one is, the more pronounced this effect.
Visual Field In the context of everyday experience, one looks down at object that are
close and up to objects that are far away.
A valley seen over the edge of a cliff is perceived as more distant
because of the break or rapid increase in texture density.
Shift of Texture or Standing on a grassy edge, looking down 1500 feet at streets and houses
Linear Spacing of a village, blades of grass were sharply etched in the visual field, while
each blade was the width of one of the small houses.
If one looks at a distant point, every between the viewer and the point
will be seen as double.
Shift in the Amount
The closer to the viewer, the greater the doubling; the more distant the
of Double Imagery
point, the less doubling.
Differential movement of objects in the visual fields
Shift in the Rate One of the most dependable and consistent ways of sensing depth.
Motion Close object move much more than distant object.
Camouflage, deceptive because it breaks the continuity.
Completeness or
Even if there is no texture difference, no shift in double imagery, and no
Continuity of
shift in the rate of motion.
Outline
 An abrupt shift in brightness of an object in the visual field will signal as
Transition Between an edge (similar to change in texture) gradual transition in brightness.
Light and Shade Principal means of perceiving molding or roundness
THE ANTHROPOLOGY OF SPACE : AN ORGANIZING MODEL
Behavior on the lower organizational levels that underlie culture. It is a
part of the Proxemics classification system and implies a specific set of
INFRACULTURE
levels of relationship with other parts of the system.
Behavior and is rooted in mans biological past.
Infracultural
Physiological and very much in the present
Precultural
The one on which most Proxemics observation are made.
Microcultural
Tend to discourage conversation.
Sociofugal Spaces
Tend to bring people together.
Sociopetal Spaces
The most important for the individuals spatial experience because it
Informal Space includes the distances maintained in encounters with others
MONOCHRONIC & POLYCHRONIC TIME
Characteristic of low-involvement peoples, who compartmentalize time.
A monochronic person separate activities in space.
Monochronic They schedule one thing at a time and become disoriented if they have
deal with too many things at once.
People that are so much involved with each other, tend to keep several
operations going at once, like jugglers
Polychronic
Polychronic person tends to collect activities.
ELEMENTS OF DESIGN
Form encompasses the spatial definition of a thing, its extent in one, two
or three dimensions.
In mathematics, form is spoken of in terms of point line and plane.
In design we speak of line, shape and volume.
Form is any three dimensional object. Form can be measured, from top to
bottom (height), side to side (width), and from back to front (depth).
Form
Form may be created by the combining of two or more shapes. It may be
enhanced by tone, texture and colour. It can be illustrated or
constructed.
Form is also defined by light and dark. NATURAL (ORGANIC FORM)
Geometric (Man-Made Form)
Point is a position in space. It is one-dimensional; has no height, depth,
or length; the beginning and the end.
When a point is in the center, it feels stable, organizing surrounding
Point
elements around it.
Off-center points feel hostile, no longer dominant.
When a point is in the center, it feels stable, organizing surrounding
elements around it.
Off-center points feel hostile, no longer dominant.
Line
It can be an intersection, outline, boundary, horizontal, vertical, diagonal,
zigzag, curved.
Width- thick, thin, tapering, uneven
Length - long, short, continuous, broken
 Direction- horizontal, vertical, diagonal, curving, perpendicular, oblique,
parallel, radial, zigzag
Focus- sharp, blurry, fuzzy, choppy
Characteristic Of Feeling- sharp, jagged, graceful, smooth
evoke aspiration, stability and ascendancy, suggest more of a potential
Vertical lines for movement or energy
express feelings of rest and relaxation, calm and quiet
Horizontal lines
suggest movement and activity, and give more of a feeling of vitality to a
Diagonal lines picture

Large upward suggest gentle, relaxed movement

curves
seem serious and sad
Downward curves
denote playfulness and humor
Small curves
Shape refers to dimensional forms created by intersecting lines
Shape can be simple geometric forms such as square triangle or circle,
or they can be irregular and amorphous, forming to no particular
SHAPE definition.
Simple geometric forms tend to evoke stability and completeness while
irregular shapes may appear more dynamic and interesting
Volume refers to extension of shape into three dimensions.
Volume is a plane extended. has a fullness; length, width, and depth;
form and space; surface, orientation, and position
VOLUME
Form is the main identifying quality in a volume.
In architecture, a volume can be either a solid or a void
Space in two-dimensional design is essentially flat; it has height and
width, but no depth.
There are certain visual cues, however (based on the way we perceive
objects in the three-dimensional world), that can create the illusion of
SPACE
space in the mind of the viewer
By using these cues, artists and designers can create images that are
interpreted as three-dimensional
Size is one of the easiest ways to create the illusion of depth in space
A larger image will appear closer than a smaller one because we know
SIZE
that the further away an object is, the smaller it appears.
Overlapping is another easy way to suggest depth in an image.
When objects overlap each other, the viewer perceives the one that is
OVERLAPPING covering the other to be in front and the one that is covered to be in
back.
Compositional Location refers to where an element is positioned
vertically in the image
The bottom is seen as the foreground (closest to the viewer) and the top
Compositional
is seen as the background (farthest from the viewer).
location
Elements that are placed lower in a composition appear to be nearer and
elements placed higher in the composition appear to be farther away.
Atmospheric perspective uses value, contrast and color to give the
Atmospheric illusion of depth in space.
perspective Atmospheric perspective is based on the fact that the farther something
 is away from us, the more the atmospheric haze may obscure our view of
it
Linear perspective is based on the visual phenomenon that as parallel
lines (such as railroad tracks) recede into space, they appear to
Linear converge at a distant point
perspective Linear perspective not only evokes a feeling of great depth, but it also
creates a strong focal point at the place where the lines converge
Texture is the apparent look or feel of the surface of an art object. It is a
tactile property and requires touching to be appreciated.
Texture is the apparent look or feel of the surface of an art object. It is a
Texture tactile property and requires touching to be appreciated.
Texture can also be suggested by the rich layering of shapes and forms
on a building.
Color can play a large role in the elements of design with the color wheel
being used as a tool
Color color theory providing a body of practical guidance to color mixing and
the visual impacts of specific color combination
Primary colors are sets of colors that can be combined to make a useful
range of colors
Primary Colors The three colors that are equal distant on the color wheel and used to
make up all other colors; red, yellow, and blue.
A secondary color is a color made by mixing two primary colors in a
given color space
Secondary Colors A mixture of two primary colors including green, violet, and orange.
Secondary colors are a way to have more vibrant colors.
A tertiary color is formed from a primary and a secondary color like
Tertiary Colors yellow-green, red-violet, and yellow-orange.
The redness, blueness, and greenness of a color.
Hue
Tints and shades of colors that are created by adding black to a color for
a shade and white for a tint.
Value
Creating a tint or shade of a color reduces the saturation.
Give a color brightness or dullness
Saturation
Analogous colors are next to each other on the wheel, e.g., blue, blue
Analogous Color green, and green, or orange, yellow orange and yellow
scheme Analogous colors can make a harmonious scheme that is very pleasant
for the eye and suitable for any room if you choose right hues and
saturation.
Complementary colors sit opposite each other on the wheel, e.g., blue
and orange, green and purple
When using them, especially in a full saturation, you create a scheme
with high contrast that is suitable for contemporary style, for kitchen or
Complementary
kids room.
Color Scheme
Complementary hues must be used carefully and in small doses in order
not to be jarring.

Split-complementary color schemes

Split-
These three colors together create a strong contrast but have less
complementary
tension.
color schemes
 Formed by placing equilateral triangle on the color wheel like green,
Triadic color
purple, and orange, or yellow-orange, blue-green, and red-purple.
scheme
This scheme uses two complementary pairs and gives rich opportunities.
Tetradic, or
However, you should choose one dominant hue among others and keep
rectangle color
the balance between cool and warm colors.
scheme
Human qualities are associated with non-human entities/ events.
Anthropomorphism: Qualities such as form, values and emotions.
study of measurements of the human body
Anthropometrics:
an applied science concerned with the of characteristics of people that
need to be considered in the design of devices and systems in order that
Ergonomics:
people and things will interact effectively and safely
The study of the symbolic and communicative role of the spatial
separation individuals maintain in various social and interpersonal
Proxemics situations, and how the nature and degree of this spatial arrangement
relates to environmental and cultural factors.
Combination of sight often distorted), olfaction, heat from the other
persons body, sound, smell, and fell of the other breath signal
INTIMATE DISTANCE
unmistakable involvement with other body.
Love-making, wrestling, comforting, projecting
The high possibility of physical involvement is uppermost in the
Close Phase
awareness of both persons.
Distance : 6-18 inches
Heads, thighs, and pelvis are not easily brought into contact, but hands
Far Phase
can reach and grasp extremities.
The space can be thought as a small projective sphere or bubble that an
PERSONAL organism (especially man) maintains between itself and others.
DISTANCE The variables and subjective distance at which one person feels
(PERSONAL SPACE) comfortable talking to another.
Distance : 1 -2
Close Phase One can hold or grasp the other person,
Distance : 2 -4 (arms length)
Far Phase The limit of physical domination in the very real sense
The Limit of Domination
Intimate visual detail in the face is not perceived nobody touches or
SOCIAL DISTANCE
expects to touch another person.
Distance : 4-7
Close Phase People who work together tends to use close social distance
Distance : 7-12
People move when someone says, stand away so i can look at you
Far Phase People can continue to work in the presence of another person without
appearing to be rude.

PUBLIC DISTANCE
Distance : 12-25
At 12, an alert subject can take evasive or defensive action in
threatened
Close Phase
At 16, the body begins to lose its roundness and to look flat color of the
eyes white of the eye is visible.
 Distance : 25 or more
At 30 the distance that is automatically set around important public
Far Phase
figures.
MASTERS IN ARCHITECTURE
This award is annually given to honour a living architect whose built
work demonstrates a combination of those qualities of talent, vision and
Pritzker
commitment which has produced consistent and significant contributions
Architecture Prize
to humanity and the built environment through the art of architecture
Form ever follows Function
Louis Sulivan Auditorium Building
Form does not necessarily follow function
Antonio Gaudi Sagrada Familia
Frank Lloyd Wright believed in designing structures which were in
harmony with humanity and its environment, a philosophy he called
organic architecture. This Philosophy was best exemplified by his design
Usonian
the Falling water(1935), w/c has been called the best all-time work of
American Architecture
Wright was a leader of a prairie school movement of architecture and
develop this concept , his unique visions for urban planning in the United
States
He was an influential American Architect.
In 1930, he founded the Department of Architecture and Design at the
Museum of Modern Art in New York City
Philip Cortleyou
In 1978, he was awarded an American Institute of Architects Gold medal
Johnson
and the first Pritzker Architecture Prize, in 1979
He was a student at Harvard Graduate School of Design

Marcus Vitrivius Architecture must meet # requirements: utilitas, venustas, firmitas

Polio

Ludwig Mies Van de Less is more

Rohe
A house is a house
Louis Khan
Philip Johnson was awarded the Pritzker Architecture Prize for his project
Glass House
Modern Architecture need not to be Western
Kenzo Tange Yoyogi National Museum
The national Gallerys campus includes the original neoclassical West
Building designed by John Russell Pope w/c is linked underground to the
I.M Pei modern east building designed by this famous architect. IMB plaza,
Chicago
An Iraq-British Architect. Received the Pritzker Architecture Prize in 2004-
the first woman to do so-and stiring prize in 2010 and 2011. Her
Dame Zaha buildings futuristic characterized by the powerful, curving forms of her
Mohammed Hadid elongated structure with multiple perspective points and fragmented
geometry to evoke the chaos of modern life
The Centre was designed by various architects, all of the functional
structural elements of the building were colour-coded: green pipes are
Center Georges
plumbing, blue ducts are for climate control, electrical wires are encased
Pompidou
in a yellow, and circulation elements and devices for safety are red
 He is perhaps best known for his work on the Pompidou Centre in Paris,
the Lloyds building and Millennium Dome both in London and the
European Court of Human Rights Building in Strasburg.
Richard Rogers
He is a winner of the RIBA Gold Medal, the Thomas Jefferson Medal, the
RIBA Stirling Prize, the Minerva Medal and the Pritzker Prize
is a large Roman Catholic church in Barcelona, Catalonia, Spain,
designed by Catalan architect Antoni Gaud (18521926). Although
incomplete, the church is a UNESCO World Heritage Site, and in
Sagrada Familia
November 2010 was consecrated and proclaimed a minor
basilica by Pope Benedict XVI.
He is also known for coining the maxim less is a bore a postmodern
Robert Venturi antidote to Mies van der Rohes famous modernist dictum Less is more
Danish architect, most notable for designing the Sydney Opera House in
Australia.
He also made important contributions to housing design, especially with
Jorn Utzon
his Kingo Houses near Helsingor. Other works includes, Bagsvaerd
Church and the National Assembly Bldg in Kuwait
Best known works include the Walt Disney Concert Hall in los Angeles,
Maria Stata Centerin Cambridge, Experience Music Project in Seattle,
Dancing in Parague
Jump-started his career in lifting from the status of paper Architecture:-a
Frank Ghery
phenomenon that many famous architects have experienced in their
formative decades through experimentation almost exclusively on paper
before receiving their first major commission in later years.
Pilotis, Roof Garden, Free designing of the ground plan, free design of
Five Points of
faade and horizontal window.
Architecture
Build the Millennium Bridge, officially known as the London Millennium
Footbridge is a steel suspension bridge for pedestrians crossing the River
Norman Foster
Thames in London, England.
German Embassy in Saint Petersburg
Peter Behrens
Queens Cross Church is a former Church of Scotland Parish Church in
Charles Rennie
Glasgow
Mackintosh
Unite d Habitation
Le Corbusier
Art Tower in Mito, Ibaraki
Arata Izosali
Nagasaki Capsule Tower
Kurokawa
Greater London Authority Building (London City Hall) 2000
Fumihiko Maki
Water Temple (Mizumi Do)
Tadao Ando
Fuente de los Amantes, Los Clubes 1966
Luis Barragan
Schlumberger Cambridge Research Centre
Michael Hopkins
Max Palevsky Residential Commons, University of Chicago(2002)
Ricardo Legorreto
Paulo Mendes Da Paulistano Athletic Club (1958)
Rocha
Centre Georges Pompidou in Paris
Renzo Piano
Seattle Central Library
Remment Koolhas
The Anthenum, New Harmony, Indiana
Richard Meier
Vanna Venturi
Robert Venturi
Imperial War museum
Daniel Libeskind
The Coconut Palace
Bobby Maosa
The Next Zaha Hadid of the Philippines
Jocel Fuentes