REINELLE <3
” (Greeks, Egyptians and as in the structures of many
LESSON 1:
ARCHITECTURE
–the art and science of building
THIS IS WHAT ARCHITECTURE
IS AND THREE WORDS IT
SHOULD HAVE:
>Architekton (Archi – great +
tekton – builder)
>Utilitas – utility
>Firmitas – strength
>Vermitas – beauty
PRINCIPLES OF DESIGN
1. PROPORTION
–Equality between two ratios in
which the first four terms
divided by the second equals
the third divided by the fourth
THEORIES OF PROPORTION
>ANTHROPOMETRY
– the science of human
measurement.
– It plays an important role in
industrial design, ergonomics
and architecture where
statistical data about the
distribution of body dimensions
are used.
>MODULOR
– “the dimensions of that which
contains and that which is
contained“
– It is devised by Le Corbusier.
– “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.
other high civilizations
measuring tools)
>KEN
– Introduced in the latter half
of Japan’s Middle Ages
–Originally used simply to
designate the interval between
two columns and varied in size
–Later standardized for
residential architecture
–Evolved into an aesthetic
module that ordered the
structure, materials and space
TWO METHODS OF
DESIGNING (KEN)
>INAKAMA METHOD
– Ken grid of 6 shaku
determined the center-to-
center spacing of columns.
Therefore, the standard tatami
floor mat (3 x 6 shaku or 0.5 x 1
ken) varied slightly to allow for
the thicknessof the columns.
>KYO-MA METHOD
–The floor mat remained
constant (3.15 x 6.30 shaku)
and the column spacing (ken
module) varied according to
the size of the room and
ranged from 6.4 to 6.7 shaku.
>GOLDEN SECTION
–Defined as the ratio between
two sections of a line, or the
two dimensions of a plane
figure, in which the lesser of
the two is to the greater as the
greater is to the sum of both
–Has some remarkable
algebraic and geometric
properties that account for its
existence in architecture as well
living organisms
>FIBONACCI SERIES
–Progression that closely
approximates the Golden
Section in whole numbers
–Each term again is the sum of
the two preceding ones, and
the ratio between two
consecutive terms tends to
approximate the Golden
Section as the series progresses
to infinity
–In the numerical progression:
1, Ø 1, Ø 2, Ø 3 . . . Ø n, each
term is the sum of the two
preceding ones.
>CLASSICAL ORDERS
–Represents the perfect
expression of beauty and
harmony
–Basic unit is the diameter of
the column.
–Because the sizes of columns
varied according to the extent
of a building, the Orders were
not based on a fixed unit of
measurement. Rather, the
intention was to ensure that all
of the parts of any one building
were proportionate and in
harmony withone another.
–Vitruvius - time of Augustus
–Vignola - Italian renaissance
>RENAISSANCE THEORIES
–Pythagoras discovered that
the consonances of the Greek
musical system could be
expressed by the simple
numerical progression—1, 2, 3,
4—and their ratios, 1:2, 1:3, 2:3,
3:4.
– The Pythagorean creed was
“Everything is arranged
according to numbers
– Plato later developed
Pythagoras’ aesthetics of
numbers into an aesthetics of
proportion. He squared and
cubed the simple numerical
progression to produce the
double and triple progressions,
1, 2, 4, 8, and 1, 3, 9, 27.
– Andrea Palladio Proposed
these seven “most beautiful
and proportionable manners of
rooms”
– Palladio’s proposed method
of determini ng room heights
2. BALANCE
– A state of equilibrium
between contrasting, opposing,
or interacting elements.
– The pleasing or harmonious
arrangement or proportion of
parts or elements in a design
or composition
3. SCALE
–How we perceive or judge the
size of something in relation to
something else
>VISUAL SCALE
–Size or proportion an element
appears to have relative to
other elements of known or
assumed size.
>MECHANICAL SCALE
– Size or proportion of
something relative to an
accepted standard of
measurement.
>HUMAN SCALE
–Based on the dimensions and
proportions of the human
body
4. AXIS
–A central line that bisects a
two-dimensional body or
figure or about which a three-
dimensional body or figure is
symmetrical. Also, a straight
line to which elements in a
composition are referred for
measurement or symmetry.
–A line established by two
points in space, about which
forms and spaces can be
arranged in a symmetrical or
balanced manner.
5. RHYTHM
–Movement characterized by a
patterned repetition or
alternation of formal elements
or motifs in the same or a
modified form
–A unifying movement
characterized by a patterned
repetition or alternation of
formal elements or motifs in
the same or a modified form.
6. HIERARCHY
– A system of elements ranked,
classified, and organized one
above another, according to
importance or significance.
– The articulation of the
importance or significance of a
form or space by its size,
shape, or placement relative to
the other forms and spaces of
the organization.
7. SYMMETRY
–The balanced distribution and
arrangement of equivalent
forms and spaces on opposite
sides of a dividing line or plane,
or about a center or axis.
–The exact correspondence in
size, form, and arrangement of
parts on opposite sides of a
dividing line or plane, or about
a center or axis. Also, regularity
of form or arrangement in
terms of like, reciprocal, or
corresponding parts.
LESSON 2:
FORM
–External appearance that can
be recognized
–Particular condition in which
something acts or manifests
itself
PRIMARY ELEMENTS
>POINT
– Indicates a position in space
>LINE
– Properties: length, direction
and position
>PLANE
– Properties: length & width,
shape, surface, orientation and
position
>VOLUME
– Properties: length, width, and
depth, form and space, surface,
orientation, position
VISUAL PROPERTIES OF
FORM
>SIZE
– Physical dimensions of
length, width, and depth of a
form.
>COLOUR
–A phenomenon of light and
visual perception that may be
described in terms of an
individual’s perception of hue,
saturation, and tonal value
>TEXTURE
– visual and especially tactile
quality given to a surface by
the size, shape, arrangement,
and proportions of the parts
RELATIONAL PROPERTIES
OF FORM
>POSITION
– The location of a form
relative to its environment or
the visual field within which it is
seen.
>ORIENTATION
– The direction of a form
relative to the ground plane,
the compass points, other
forms, or to the person viewing
the form
>VISUAL INERTIA
– The degree of concentration
and stability of a form. The
visual inertia of a form depends
on its geometry as well as its
orientation relative to the
ground plane, the pull of
gravity, and our line of sight.
SHAPE
>The characteristic outline or
surface configuration of a
particular form. Shape is the
principal aspect by which we
identify and categorize forms
PRIMARY SHAPES
>CIRCLE
–A plane curve every point of
which is equidistant from a
fixed point within the curve
>TRIANGLE
–A plane figure bounded by
three sides and having three
angles
>SQUARE
–A plane figure having four
equal sides and four right
angles
SURFACE
–any figure having only two
dimensions
>CYLINDRICAL SURFACES
–Sliding a straight line along a
plane curve or vice versa
>ROTATIONAL SURFACES
– Generated by rotating a
plane curve about an axis.
>TRANSLATIONAL
SURFACES
– Generated by sliding a plane
curve along a straight line or
over another plane curve.
>RULED SURFACES
– Generated by the motion of
a straight line. Because of its
straight line geometry, a ruled
surface is generally easier to
form and construct than a
rotational or translational
surface.
>ROTATIONAL SURFACES
–Generated by rotating a plane
curve about an axis.
>HYPERBOLIC
PARABOLOIDS
– Generated by sliding a
parabola with downward
curvature along a parabola
with upward curvature, or by
sliding a straight line segment
with its ends on two skew lines.
PRIMARY SOLIDS
>SPHERE
–A solid generated by the
revolution of semicircle about
its diameter, whose surface is
at all points equidistant from
the centre
>CYLINDER
– A solid generated by the
revolution of a rectangle about
one of its sides. It is centralized
about the axis passing through
the centres of its two circular
faces
>CONE
– A solid generated by the
revolution of a right triangle
about one of its sides. Like the
cylinder, the cone is a highly
stable for when resting on its
circular base and unstable
when its vertical axis is tipped
or overtuned
>PYRAMID
– A polyhedron having a
polygonal base and triangular
faces meeting at a common
point or vertex.
>CUBE
– A prismatic solid bounded by
six equal square sides, the
angle between two adjacent
faces being a right angle.
Because of the equality of its
dimensions, it is a static form
that lacks apparent movement
or directon
TRANSFORMATION OF
FORMS
>DIMENSIONAL
TRANSFORMATION
– Transformation by altering
one or more of its dimensions
and still maintain is identity as a
member of a family of forms
> SUBTRACTIVE
TRANSFORMATION
– Transformation by
subtracting a portion of its
volume. Depending on the
content of subtractive process,
the form can retain its initial
identity or transform into
another form of another family
>ADDITIVE
TRANSFORMATION
– Transformation by addition
of elements to its volume. The
nature of addition process and
the number and relative sizes
of elements being attached
determine the identity if the
initial form is altered or
retained
3:
VISUAL ACUITY AND
PERCEPTION
–Definition by Prof. Dr .
Amrtalaat El-Ghoniemy M.D.
–Clinically: measurement of
threshold of discrimination of 2
spatially separated targets
(function of fovea centralis)
– Theoretically: high complex
function
– A MEASURE OF FORM
SENSE; it refers to spatial limit
of visual discrimination The
reciprocal of minimum
resolvable visual angle
measured in minutes of arc for
a standard test pattern
PERCEPTION
–The act, power, process or
product of perceiving;
knowledge through the senses
of the existence and properties
of matter and the external
world.
– Psychology. a) the faculty or
power of acquiring immediate
and fundamental knowledge
through senses: often called
sense perception (Marckwardt,
, 1996)
4:
USER REQUIREMENT AND
PERCEPTION OF SPACE
USER
–One who or that which uses
(Marckwardt, 1996)
REQUIREMENT
–That of which is require; a
requisite (Marckwardt, 1996)
>USER STATED
REQUIREMENTS
–requests, needs, or whims of
the user
>STATE REGULATED
REQUIREMENT
–according to the Philippine
building laws;
PD1096,BP344,RA9514,BP220,P
D957, Plumbing Code of the
Philippines,PD1216, etc.
>STANDARD
REQUIREMENTS
–graphics standards, time saver
standards, neufert (not usually
used in the Philippines, etc.
PERCEPTION
–Has something to do with the
senses
SPACE
–An interval between points or
objects; a limited portion of
extension; distance; area
USER REQUIREMENT
–User requirement becomes a
combination of the user
required items, standard
requirements and state
regulated requirements. The
designer (YOU as an architect
and YOU as a current
architecture student) must be
able to reconcile this things to
create an architectural design
–YOU have to disregard your
thoughts sometimes and
submit to the requirements the
user. In cases of conflicts, YOU
have to explain to the user
what are these conflicts and
how important the state and
standard requirements are.
USER ANALYSIS
–From this activities, you create
the SPACE COMPUTATION
>BEHAVIOURAL ANALYSIS
–an analysis of the user/s set of
activities throughout the day
which dictates the spaces/
additional space you may need
to provide
5:
SPACE ARTICULATION AND
TERRITORIALITY
TERRITORIALITY
–Territorial condition, status or
position
–Territorial - limited to a
particular territory
–a delimited space that a
person or a group uses and
defends as an exclusive
preserve
–involves psychological
identification with a place
–public distance, social
distance, intimate distance,
personal distance

PRIVACY
–ability of an individual or
groups of individuals to control
their visual, auditory, olfactory
interactions with others
–ability to have options and to
achieve desired level of
interactions

KINDS OF PRIVACY
>SOLITUDE
–state of being free from
observation by others
>INTIMACY
–state of being with another
person but free from the
outside world
>ANONYMITY
–state of being unknown even
in a crowd
>RESERVE
– state in which a person
employs psychological barriers
to control unwanted intrusions