ARC1123

THE ELEMENTS OF ARCHITECTURE

Architectural Styles and Movement

The Evolution of Forms  CONTEMPORARY MOVEMENT

 Function and History
– Buildings of the past were developed
because of definite & tangible needs
– Materials and types of construction
influenced their appearance
– The purposes of the buildings were
the controlling factors
 The architecture of today were only the fruits
of the past experiments
– Each period of historic development
was once “modern”
Phases of Development:
 ARCHAIC
– saw the groping of the untried hands
in an attempt to master new
problems and new medium, on effort
to find an expression for a new
material
– Egyptian, Mesopotamian
 MASTERY
– the buildings/art produced show that
designer/artist has discovered how to
control his medium and sure of his
technique and performance
– the height of the development
– Classical Styles, Romanesque,
Gothic
 DECADENCE
– is marked with artist becoming too
sure of himself to take liberties with
his materials.
– His designs were less structural and
were too ornate, it heralds the
decline and the beginning of the end
– Renaissance, Modern
European Precedents:
 STRUCTURAL STYLES (Creative)
1. Trabeated (post & lintel) Architecture
Classical, 7th Cent. B.C. – 5th Cent. A.D.
a. Greek
b. Roman ( with beginning of round arch)
1. Arcuated (arch and pier) Architecture
Romanesque (round arch) 6th to
12th Cent.
Italian, French, English, German
Gothic (pointed arch) 13th to 15th
Cent.
French, English, German, Flemish,
Italian, Spanish
since Circa 1920
-based upon the desire to allow function &
materials to dictate form and style
- an expression of steel and concrete,
new materials interpreted in many ways
Characteristics of the Architectural Movements:
 Greek
– Temple and theatre architecture
– Attention was founded on exterior
– Post and lintel
– Refinement of line, simplicity of detail
– Has clarity, strength and response
 Roman
– Magnificent temples, palaces, baths
with large span and covered with
concrete vault
– Pretentious
– Builders were tagged as engineers
rather than architects
– They developed the round arch and
pier
– Buildings were richly ornamented but
less fundamental
 Romanesque
– Church architecture
– Employed round arch and vault to
give equilibrium by the adjustment of
the thrusts
– Honest in use of bricks and stones
– Direct and vigorous in its
arrangement of mass and detail
 Gothic
– Activities were the result of intense
religious fervor
– Soaring, vertical quality
– In solving the problem of
concentrating the vault thrusts,
pointed arches, slender piers and
flying buttresses, stained glass
windows were substituted for thick
walls
– A system of construction, religion
and philosophy
 Renaissance
– Italy reverted back to classical style
– Classical forms were adopted to their
needs
– Formal arrangement of churches,
villas and palaces

 Reflections in the U.S.

 IMITATIVE STYLES (Decorative) – 1. 17th Century
1. Post & lintel and round arch Architecture • Early houses were based
Renaissance, 15th to 18th Cent. upon English traditions of
Italian, French, English, German, Spanish, timber framing
Flemish (American Colonial) Revival, 19th • Overhanging second stories,
Cent.: Classical, Romanesque, Gothic, beamed ceilings and narrow
Renaissance, Eclectism, first 2 decade of the windows contributed to the
20th Cent. informality of this period
(this is electing to work in any of the styles of – 2. Colonial
historic development, depending upon the • Georgian style
type of building and the inclinations of the • Style were simple and
architect and the client) symmetrical

UST Architecture | College of Architecture | TOA2 | Handout 1 | Updated S.Y. 2021-22 Page 1
 Combined refined, delicate
• • Building lines were distorted
mouldings with slender,
graceful columns
– 3. Greek Revival
• Greek forms and details
were applied to all types of
buildings
• Pleasing to the eye but were
often illogical in regard to
function
• Style was inflexible to permit
an easy adaptation
• An architecture of façade
arrangements
– 4. Gothic Revival
• They turned to the informality
of the gothic.
• They were not successful in
capturing the spirit of the
style
• Cold and hard structures
• Lacked flexible quality of the
European Buildings
– 5. Victorian
• An attempt to bring romance
through the medium of
architecture and interior
decoration during the period
of “industrial depression”
• Meaningless turrets, gables,
jig-saw ornaments
• An architecture with no
structural sense
• “Eastlake” style and the
Victorian Gothic
– 6. Romanesque Revival
• H. H. Richardson was
responsible
• Bold and massive details
– 7. Renaissance Revival
• Exodus of students to Paris
to study architecture
• It was the vogue in France
• French chateaux influenced
the design of the mansions
of the wealthy
• It rescued U.S. from the
artistic depths in which it had
been floundering
 Antecedents of the Contemporary
– 1. STEEL
• Library of St. Genevieve –
with barrel vault supported
by iron columns design was
followed by Bibliotheque
Nationale
• Speculation of new material
and new type of construction
revolutionize the character of
architectural design
– 2. L’ ART NOUVEAU
• Began in Europe about 1900
• Based on a romantic theory
that curved natural forms of
flowers and animals were
more satisfactory than
straight line and abstract
designs.
UST Architecture | College of Architecture | TOA2 | Handout 1 | Updated S.Y. 2021-22
to fit to the theory of curved
surfaces
• It did not developed because
it was not fundamental
– 3. THE EARLY MODERNISTS
• Louis Sullivan and later his
student: Frank Lloyd Wright
waged war against tradition
in architecture
• Structural scheme of the
buildings were revealed
 Contemporary Reflections
– 1. Traditional Eclectics
• They work in any style of the
past and their development
in the direction of the use of
traditional motifs.
• They maybe classicists-
formality and purity of form
or’
• Romanticists-
picturesqueness of the
medieval
– 2. Traditional Modernists
• Those who give
consideration to the use of
the building but use historic
style as the basis of the
design
• The old and new style were
merged
3. Non-traditional Modernists
–
• Believes in functionalism
• Believes in “form follows
function”
• Use and characteristic of the
materials influenced the
appearance of the structure
 Modern-ISM
Sources::
Ching, D.K. (1996) Architecture: Form, Space, and
Order. New York: John Wiley and Sons.
Hanno-Walter, Kruttt. A History of Architectural
Theory: Princeton. Architectural Press, 1994
Pickering, E. (1949) Architectural Design. New York:
John Wiley and Sons
Copyright 2022 by University of Santo Tomas College of
Architecture TOA 2 Sub-cluster
This lecture was produced by the Theory of Architecture 2
(TOA2) Sub-cluster in preparation for S.Y. 2021-22. These
pages and any portion thereof may not be reproduced or
used without the written consent of the University of
Santo Tomas College of Architecture except for brief
quotes or for review.
Page 2
 ARC1123
CONCEPT: Response to Context
(Activity Analysis and Linkages)
Architect’s Role and Responsibility to the Community

Building Envelope

Building Envelope CONCEPTS

CONCEPT: Response to Context Footings and foundation
Property boundaries CONTINUOUS WALL FOOTING
Land contours FLOATING SLAB FOOTING
FOOTING WITH STEM WALL
Surface drainage CONTINUOUS SHAPED WALL FOOTING
Soil condition STEPPED CONTINUOUS WALL FOOTING
PLATED COLUMN FOOTING
Rocks and boulders STEPPED COLUMN FOOTING
Trees PILINGS
PILING SHAPES
Water PILES BEAMS WALLS
Existing Buildings PILES SLAB AND WALLS
PILES AND COLUMNS
Expansion of existing buildings CANTILEVERED BEAMS WITH PILING
Easements CONTINUOUS WALL FOOTING
CONTINUOUS WALL FOOTING BENEATH THE SLAB
Noise ISOLATED WALL FOOTING BENEATH THE SLAB
Views from the site Columns
COLUMN SHAPES IN PLAN
Off site vehicular traffic COLUMN TRANSITIONS AT BASE
Existing on-site vehicular traffic PEDESTAL TRANSITIONS FOR COLUMNS AT BASE
CHANGE COLUMN MATERIALS AT BASE
Existing on-site pedestrian traffic BEAM CONNECTION TO COLUMN
Utilities COLUMN TO WALL RELATIONSHIP
COLUMN TO ROOF RELATIONSHIP
Building parking service relationships COLUMN TO FLOOR RELATIONSHIP
Vehicular-pedestrian traffic systems Walls
WALL FORMS
Parking systems WALL TRANSITIONS TO BASE
Car storage BEAM CONNECTIONS TO WALLS
WALL TO WALL RELATIONSHIPS
Approach to building Additional column and wall roles
Arrival modes RECEIVE OTHER ELEMENTS
BECOME OR FORM OTHER ELEMENTS
Entry to building Beams
Total site zoning BEAMS SHAPE AND FORMS
FRAMING CONCEPTS
Total site systems CONNECTION TO OTHER SPANNING MEMBERS
Land forms SLOPED BEAM TRANSITION TO GROUND
RELATION TO ROOF AND CEILING
Seating forms RELATION TO WALLS
Contribution to neighborhood Roof forms
GABLE HIP
Sunlight FLAT DOME
Temperature and humidity LEAN-TOMANSARD
SAW TOOTH
Rainfall Additional beam roles
Wind FORM OR DEFINE SKYLIGHTS
ACTS AS HANDRAILS
BEAR GRAPHICS
ACCOMMODATE LIGHTING
DEFINE USED ZONES IN A ROOM
SUPPORT HANGING ELEMENTS
ORGANIZE CEILING PATTERN

UST Architecture | College of Architecture | TOA2 | Handout 6 | Updated S.Y. 2021-22 Page 1
Wall concepts
WALL CONTINUITY THRU GLASS Window forms
WALL AS FOCUS TYPES
CONTINUOUS FRAMES
WALL/FLOOR CEILING FAÇADE RELATIONSHIPS
OUTSIDE WALL TEXTURE SAME AS INSIDE Window in plan and section
WALLS AS BACKDROP Additional window roles
OUTSIDE WALL TEXTURE DIFFERENT FROM INSIDE STOREFRONT CONCEPT
WALLS AS SCREEN SHOW HOW THE BUILDING WORKS
WALLS CONTINUOUS WITH FLOOR SEAT
NOTCH TO EXPRESS PLANES DUCT
MOVABLE WALLS SHELVES
Floor and ceiling concepts DESK
CONTINUITY IN AND OUT HIGH GOOD VIEW LOW BAD VIEW
DISCONTINUOUS IN FROM OUT BAD HIGH VIEW GOOD LOW VIEW
PATTERN DERIVATIVE IN FROM OUT WINDOWS SHADE THEMSELVES
FLOORS AS FLOATING PLATFORM FEATURE ART
ROOF AS CEILING FRONT DESK
DROPPED CEILING PLANES DEFINE CIRCULATION
CEILING CONTINUITY IN TO OUT FURNITURE
Balconies PLANTS
Canales and water bins ALTAR
GRAVEL WASH WALL
SPLASH BLOCK WITH LIGHT
GROUND COVER
PLANTER
POOL Sources::
CHAIN
DRY WELL Ching, Francis D.K. (2007) Architecture Form, space and
SEWER Order, 4th edition, John Wiley and Sons, Inc. Retrieved
CISTERN from
DRAIN ON TOP OF THE BUTRESS https://www.academia.edu/34808211/Architecture_-
THROUGH WALL _Form_Space_and_Order_4th_edition
WATER RECEPTACLE PATTERNS Lynch, Kevin and Gary Hack (1984 3rd Ed.) The Art of Site
USE DRAIN TO DEFINE CORNERS, WINDOWS, ETC Planning: M.I.T. Press. Cambridge, Massachusetts.
Fireplaces Lifted and updated from Ar. Willa Solomon’s TOA 2 lecture
ANCHOR A SEATING UNIT materials
RECEIVE STAIRS Lifted and updated from Ar. Christopher Luna’s TOA 2
ROOM FOCUS lecture materials
SEAT White, E.T. (1975) Concept Sourcebook: A Vocabulary of
ROOM DIVIDER Architectural Forms. Tucson: Konemann.
PRIVACY https://www.slideshare.net/coolgirl0000/concept-
Steps source-book-edward-white
Stairs
Stair placement in relation to building • http://www.trhamzahyeang.com/project/skyscrapers
Additional stair roles /bishopgate01.html
WAITING CANOPY • http://www.urbantransport-
PLANTS technology.com/projects/turin/
PLANTER • http://www.lrta.gov.ph/system_links.htm
SEATING
FORM ENTRY
OBSERVATION OR DISPLAY
Shafts
Skylight roles
Doors
SOLID Copyright 2022 by University of Santo Tomas College of
GLASS Architecture TOA 2 Sub-cluster
LOUVRE
SIDELIGHT This lecture was produced by the Theory of Architecture 2
TRANSOM (TOA2) Sub-cluster in preparation for S.Y. 2021-22. These
DUTCH pages and any portion thereof may not be reproduced or
SLIDING used without the written consent of the University of
DOUBLE SLIDING Santo Tomas College of Architecture except for brief
BIFOLD quotes or for review.
PIVOT

UST Architecture | College of Architecture | TOA2 | Handout 6 | Updated S.Y. 2021-22 Page 2
 ARC1123
MODERNISMS

Monumentalism took hold among the German pioneers of

MODERNISMS
The chief characteristics of 20th century architecture is its’
plurality. Some critics have erroneously suggested that
there has been a single evolutionary Modern Movement in
modern architecture as such. Indeed there have been
many modern movements. The main revolution in
architecture began with the new master problems that
emerged as long as the 1780's when a vast amount, of
monumental symbolistic building began and when new
problems of a specifically public architectural character
were met by the architects of the period.
It was not until the 1880's that a desire for a truly modern
style emerged and even then it was by no means articulate,
although in some ways it prefaced the whole of the work
of the early 20th century. By the .turn of the century,
architects sensible to the changes that were going in
society, science, technology & psychology, were struggling
with the problems of identification, of architectural ideals
and the increasingly important notion of providing an
architecture appropriate to its time. The Art Nouveau did
not successfully produce the necessary transition from the
stylistic Revivalism of the 19th century into the new world
of the 20th. It did, however, provide a bridge - via
Expressionism — between the individualism of the Art
Nouveau designers & the collective work of the architects
who were associated with the International Modernism
movement of the late l920s.
1. MANNERISM- manipulation of styles or forms achieved
by the learned juxtaposition of elements for the exclusive
aim of achieving originality or effect.
2. ECLECTICISM . d) Holland & Scandinavia- Viollet le Duc
It is usually applied to any building that incorporates a
mixture of the historical styles.
Personalities: of the 19th century & early 20th century
a) United States: Henry Richardson
Louis H. Sullivan
b) Britain : Auguste Pugin
Richard Shaw
Sir George Scott
Alfred Waterhouse
c) France : Eugene Viollet-le-duc
d) Germany : Gottfried Semper
modern architecture, notable among them
a) Karl Friedrich Schinkel
b) Peter Behrens - Turbine Shop, AEG Factory, Berlin
c) Hans Poelzig - Posen Tower; Breslare Centennial
Exhibition
d) Mies van der Rohe
e) Le Corbusier
f) France : Tony Garnier
g) Auguste Perret
5. NATIONAL ROMANTICISM (from 1860 -20th century)
Bolstered by ideas of national aggrandizement, this self—
emulating style fed on particular local historical motifs and
devices as well as the associative aspects of the great
historical periods in architecture so beloved by the
eclectics. In some cases it parallels the work of those
architects normally referred to as Art nouveau designers,
but its aspirations were much wider than those of the
international "proto modernists".
a) In Glasgow — Charles Rennie Mackintosh
b) Finland — Eliel Saarinen, Lars Sonck, Gallen-Kallela
c) Britain –Richard Norman Shaw; Charles Voysey
d) Spain — Antoni Gaudi
e) Germany — Paul Bonatz, Albert Speer
6. FIN DE SIECLlSM (Art Nouveau) - see previous lecture.
Dynamic Forms, whiplash lines, curving design.
a) Belgium - Victor Horta
b) Glasgow - Charles Rennie Mackintosh
c) France and Paris – Paul Gaugin, Guimard, Henri de
Lautrec
e) Spain – Antonio Gaudi
f) U.S.A. – Louis Sullivan
g.) Vienna - Joseph Ma. Olbrich
Josef Hoffmann
7. RADICALISM - It was largely the individualists who
demanded a radical shift in emphasis from the buildings of
the past to the design of those which met the demands of
modern life.
a.) Henry van de Velde
b) Walter Gropius - model factory at Werkbund Exhibition

3. STRUCTURALISM 8. CONSTRUCTIVISM
Iron construction, initiated by Joseph Paxton’s Crystal It was a passionate pleading for ideas on form and space in
Palace, brought about a trend in architecture. Numerous architecture (anthropometric and ergonometric)as well as
exhibition halls, locomotive sheds & other large-scale in the other arts.
"engineering" types of structure followed. Exponents: Vladimir Tallin, Naum Gabo
Antoine Pevsner, Kasimir Malevitch,
4. MONUMENTALISM EL Lissitzky, Marcel Breuer,
In architecture, one aspect of individualism stand- out: the Mart Stam, James Stirling
idea of building monuments. This was based on a general
notion that (f r. Adolf Loos) "the form of an object should 9. EXPRESSIONISM
last" & that implicitly there are some forms which have This term is used to describe the work of those architects
eternal validity. who prefigured the International and Functionalist Period
Loos contribution to this is his entry for the Chicago Tribune of the Modern Movement. It is the outward manifestation
Tower competition in 1922 which was in the form of a huge of a design through an individual expression.
Doric column. Personalities: Germans Hans Foelzig Bruno Taut,

UST Architecture | College of Architecture | TOA2 | Handout 7| Updated S.Y. 2021-22 Page 1
Finsterlin, Erich Mendelsohn
Hans Scharoun, Walter Gropius (for a short time)
Mies van der Rohe - though some of his works showed an
Expressionist idiom like a skyscraper project sheathed in
glass with reinforced concrete canti-levered floors & a
concrete parking .lot.
10. FUTURISM
Filippo Marinetti (a poet) co-opted with the architect
Antonio Sant ‘Elia who, unfortunately was killed in action.
However the former published the Futurist Architecture
Manifesto which proclaimed that Futurist architecture "is
the architecture of" calculation, of audacity & simplicity;
the architecture of reinforced concrete, of iron, of glass
....... & all those substitutes for wood, stone and brick
which make possible maximum elasticity & lightness & in a
rhetorical manner, it stated : "let us throw away
monuments, sidewalks, arcades, steps. Let us sink squares
into the ground, raise the level of the city."
The manifesto had a limited influence at the time but it was
rediscovered & reactivated in the 1950s by architect-
planners.
11. NEOPLASTICISM
In its precise meaning this term relates to the theory pure
plastic art which had a pronounced influence on Dutch
architects, it consisted in the exclusive use of the right
angle in a horizontal position, and the use of the 3 primary
colors contrasted with or incorporating in various
canvasses the 3 non-colors: white, black and gray. The first
fully integrated neoplastic house which still is existing can
be found in Utrecht and designed by Gerrit Rietneld.
Other designers using this style were: Theo van Doesburg
(founder of De Stijl group) & Cor van Esteren
12. DE STYL
Founded by Van Doesburg, a painter. Jacobus J. P. Oud, one
of the principal aims of the movement is to “construct
without any illusion, without any decoration”. It broke
away from naturalism and historicism and by appealing to
abstraction as the means of expressing a universal
synthesis of modern times. Compared to Gropius,
Doesbury was a radicalist.
13. L’Ecole de Beaux Arts (Paris)
The style turned to Gothic revival due to its brevity,
idealism, heroism, and picturesque ness. Verticality was
the trend. Example: Eiffel Tower
14. BAUHAUS STYLE - The Bauhaus was the creative center
of artistic experiment during the 1920s & it became
internationally known through its publications & ex-
hibitions & also, most importantly, through the work of its
architect heads who were in the front line of the European
avant-garde. The influence of the Bauhaus design methods
can be seen in numerous consumer products from bent
metal furniture & hanging globe lamps to the black, block,
lowercase lettering to be found on exhibition posters the
world over.
Bauhaus - School of art & design; founded in 1919 by
Walter Gropius; in 1927, the second head was Hannes
Meyer And later, Mies van der Rohe took the reins from
the latter.
UST Architecture | College of Architecture | TOA2 | Handout 7| Updated S.Y. 2021-22
15. The INTERNATIONAL STYLE
“Ready-made style” imported from the U. S.
16. CIAM & International Modernism (Congres
Internationaux d'Arcnitec-ture Moderne) set up by Le
Corbusier & Siegfried Giedion
This was the major organization through which the ideas of
modern architecture & urbanism became known to the
world. The ClAM style of architecture was characterized by
cubic, white surfaced, flat roofed architecture, usually set
in an arid landscape.
17. TEAM X
Formed by a rebellious group of young Turks who
contested the principles of modern architecture for the
same reasons CIAM had attacked the past.
Joan Joseph Bakerna (Holland)- unite the personal
freedom with the total environment Shadrach Wood
(U.S.)- from cell house to mass housing which results in
desolation.
Aldo van Eyck (Holland)- architects left no cracks or
crevices; made a flat surface of everything
18. ORGAN1CISM (or organic architecture)
It is used as a description of architecture that sympathizes
with its environment which is shown in the early work of
Frank Lloyd Wright & the Prairie School. It is the very
antithesis of the geometrical organized facadism of those
architects who believe that architecture should intrude on
the environment in the Classic, Neo-Classic & Gothic sense.
Other followers of organicism are:
Claude Bragdon (U.S.)
Henry Russell Hitchcock (U.S.)
Hugo Haring (Germany)
Hans Scharoun (Germany)
Bruce Goff
Paolo Soleri
Herb Greene
19. UTILITARIANISM
Seeking for economic solution for low value sites-as well as
alternative/cheap forms of construction in timber, brick &
metal, low-cost housing was referred to as utilitarian
architecture. ln Britain the utilitarian house par excellence
was known as the "PREFAB". The idea was to fabricate
these units in factories & brought to the sites ready-built
for immediate assembly. The effect of this eventually was
to create an atmosphere in which "system building" could
take over the role of individually designed dwellings.
20. THE NEW BRUTALISM
Originally it vas meant to indicate a certain type of
architecture of the 1950s. It was introduced by the British
Architects Peter A. Allison Smithson, although the Swede
Erik Asplund lays claim to an earlier version, "Neo-
Brutalism".
Brutalism was first referred to the works of Mies van der
Rohe whose structures shoved a display of his precise
technology of glass and steel. All the servicing systems of a
building (like pipes) were openly on display and not
concealed in ducts or by covers. Later it was applied to
buildings which imitated the exposed concrete finishes in
Le Corbusier's work. Engineers renamed it the "bunker"
style.
Page 2

21. metabolism
The term metabolism was first applied to architecture at
the World Design Conference, Tokyo, 1960.This concerns
with the problems of cities. Among its advocates are:
Kiyonori Kikutake
Fumihoko Maki
Masato Otaka
Kisho Kurokawa
Its early & important convert was KenzoTange. Metabolist
cause regarded "human society as a vital process, a
continuous; development from atom to nebula". The group
concentrated on the new order of relationships between
man and the environment.
The early metabolist terminology was based on organic and
cybernetic analogies. However, as their ideas developed
they soon came to resemble earlier historical visionary
projects & by the time they came to be built the visionary
element was- lost in. the face of the need to built realistic
earthquake-proof concrete buildings. Example: Tange’s
radio & press center at Kofiu, Kurokawa’s Nagakis Capsule
Tower, Tokyo.
22. POST-METABOLISM
Its use implies an attempt summarize some very divergent
currents that characterized the Japanese architectural
scene at the moment. It was a reaction to the "meta-
architecture" of the earlier: Metabolists. Post-motabolism
interests in explaining such things, as the nature of the
house in the city & are concerned with intricate design on
small site and polemical schemes.
23. ISOLATIONISM
It is conceived independently from its immediate or
historical context. It stands on its own.
24. CONTEXTUALISM
Architecture should be apprehended in its total setting.
The knowledge of history, the world, or science makes the
total experience far richer.
25. POST-MODERNISM
This is an alternative to Modern Movement ideas like
revivals of pattern book principles of the 19th century, a
new interest in vernacular forms adapted to modern
needs, a much more strict interpretation of the theatrical
element in Modern Movement architecture proper, a
distinctly confused revival of F. L. Wright’s organic views
and a return to low rise high density developments of the
interwar period.
Example of this new phase:
A city on the mesa at Acrosanti by Paolo Soleri
Medical Faculty at Wolume near Brussels, Belgium by
Luiren Kroll
26. DECONSTRUCTIVISM
It is the abstraction of Modernism to the extreme and
mainly worked on the principle of exaggeration of familiar
motifs. It is also known as the new modernism.
UST Architecture | College of Architecture | TOA2 | Handout 7| Updated S.Y. 2021-22
Peter Eisenman, Frank Gehry, Richard Meier, Rem
Koolhaas
27. ECOISM
- any form of design that minimizes destructive impacts by
integrating itself with living processes.
-is not limited to one material but instead encourages the
use of materials that are most appropriate for a particular
place, climate and program.
- it merges the interests of sustainability, environmental
consciousness, green, natural, and organic approaches to
evolve a design solution from these requirements and from
the characteristics of the site, its neighborhood context,
and the local micro-climate and topography.
-'respect' this is the keyword in practicing green /
ecological architecture because our current system of
building lacks respect for the natural environment as well
as for individual people and society as a whole.
Personalities; Ken Yeang, Renzo Piano, Sir Norman Foster,
Toyo Ito
28. METARATIONALISM
Metarationalism is what happens to architecture when the
logic of economist James Galgraith’s view that in the
affluent society there is no meaningful distinction between
luxury and necessity meets that of complexity science with
its ability to overturn conventional structural logic. The
result is a feast of consumerist experiences presented
within phenomenally complex forms.
Personalties; Daniel Libeskind, Steven Holl
Sources:
• Kruttt, Hanno-Walter. (1994) A History of
Architectural Theory: Princeton Architectural
Press.
• Mallgrave, H. F. Malden. (2011). An introduction
to architectural theory: 1968 to the present. MA:
Wiley-Blackwell.
• Melvin, Jeremy. (2006) ISM- Understanding
Architecture. London A&C Black Visual Arts.
Bloomsbury.
• Microsoft Encarta Encyclopedia, 2003.
• Lifted and updated from Ar. Norma Alarcon ’s TOA
2 lecture materials
• The A-Z of modern architecture Köln; Los
Angeles: Taschen, c 2007.
Copyright 2022 by University of Santo Tomas College of
Architecture TOA 2 Sub-cluster
This lecture was produced by the Theory of Architecture 2
(TOA2) Sub-cluster in preparation for S.Y. 2021-22. These
pages and any portion thereof may not be reproduced or
used without the written consent of the University of
Santo Tomas College of Architecture except for brief
quotes or for review.
Page 3
 Preface and Introduction to Concepts
WHAT ARE CONCEPTS?
• Concepts are a set of rules or guidelines that we
establish for ourselves to help us remain
consistent and productive
• Not as rigid as a plot or a business plan, but they
do involve a vision of the challenges ahead
• A painting by Caravaggio: "Supper at
Emm aus"
• Caravaggio had a noteworthy ability to
express in one scene of unsurpassed
vividness the passing of a crucial
m am ent.
• The Supper at Emmaus depicts the
recognition of Christ by his disciples: a
moment before he is a fellow traveler,
m ouming the passing of the Messiah, as
he never ceases to be to the inn-keeper's
eyes, the second after, he is the Saviour
• Concepts are also about intentions that seek a
result that is poetic, lasting and m emorable
• In this sense concepts are not simply about a
resolution of a functional matrix of adjacencies.
• Eiffel Tower by Gustave Eiffel
• The tower is currently painted a shade of
brownish-gray in three different colors in
order to make it look the same color.
• The colors change from dark to light
from top to bottom, but it looks the same
because of the background (the sky
being light and the ground being dark.
WHY ARE CONCEPTS NECESSARY?
• More than any other artistic endeavor, the design
fields depend on concepts for the reason that they
take up a lot of resources: money, personnel,
materials etc.
• It requires a concept to justify the expenditure of
all these resources and m ore.
• Sydney Opera House: by Jorn Utzon
• Issues such as structural, construction,
materials, supervision, financing, and
politics hampered this architectural
m arvel.
• Because the design fields are very much about
making possible a space or an environment for
fellow hum ans.
• It is important to articulate what that environm ent
will look like and m can at the outset of the job.
• Seattle Public Library by Rena
Koolhaas
• The stacks, arranged along a
continuous spiral ramp contained within
a four-story slab, reinforce a sense of a
world organized with machine-like
precision."
• Because they help us defend a result that is
unfamiliar to those who hire us.
• By providing a reason for the efforts and product
that we put forth, the public is more likely to
accept non-m airstream expressions.
• Clinton Presidential Library by James
Polshek Architects
• Concepts are first and forem ost the product of
limitations, which can be translated to mean
UST Architecture I College of Architecture I TOA2 I Handout 1 I Updated SA'. 2021-22
obstacles, be they, political, environmental,
economic or spatial .
• Once the limitations are defined and understood,
the designer goes on to work with the appropriate
metaphor, scale, form, material.
• The product is the outcome of having eked out a
response to the limitations.
• University of Virginia: Thomas
• To design the plan of DC, Pierre
Jefferson
• L 'Enfant looked to his predecessors in
France for hap.
• He needed a plan that would bind the
various components of the government
into a singular relationship.
• The grid was not sufficient enough for
the reason that it had no sense of
beginning or end
• The ,system of diagonal lines with nodes
every so often gave DC a degree of
hierarchy between government functions
and in the process gave those functions
important vistas in the city.
• In Villa Savoye Corbusier sought to put
in real material terms his need to express
the spirit of the age that one lives in.
• Conceptually his main aim was to
express then his age,1929, was
beginning to defy gravity and location.
• This was the age of the car and the idea
that we are constantly on the move.
• In lifting the villa above ground and in
favoring the horizontal window over the
vertical he first wanted to free the
architecture from the site and second to
wash away the effect of structure
• As the National Galleq is in DC and in
an important moment in the city 's plan,
I. Pei was careful to work with a
concept that would make out ofhis
architecture a unity between exterior
and interior, city scale and room scale.
• On the inside the materials were chosen
to reflect the facades of the city, thereby
folding the experience of walking on the
sidewalk inside
• The final result makes cats out of the
building in such a way so as to continue
the sweep of avenues outside inside the
• To speak about art and its relationship
with the city, Marcel Breuer used as a
concept the inverted pyramid.
• If the pyramid had signified the
relationship between the earthly and the
divine, the Whitney signifies the same
but in reverse order; art uses divine
inspiration to inform us about earthly
m afters.
• In the process the trapezoidal window
comes to play an important role in
putting forth the idea that between the
artist and the public there is a special
perspective
Page 1
 • As an institution that prides itself on the • Violation of codes and ordinances
study of art and liberal studies, the Getty • Parking problem s
• Obstructed views
Center in LA is reminiscent of ancient
• IDestruction of existing ecological relationships
Greek city states and Greek values.
• And so when Richard Meier came to CHECKLIST IN DESIGN
design a collection ofbuildings for it in
L4, he was quick to use the Parthenon CONCEPT CATEGORIES
for his conceptual thinking
• Important about the P arthenon are the FUNCTFON SPACE
site and how it presented a ready-made IfEct miry
(volume
hierarchy between two components of a grouping
and zr)rtn9) required
single belief system.
• Perspective and how there is no one GEOMETRY
perspective that overrides other views, (cm-oulalion, CONTEXT
form (site and
order and how it disciplines arad image)
climate)
relationships.
• In designing the St. Chapel of St. DESIGN
SOLUTION
Ignatius Steven Holl had to work with ENCLOSURE SYSTEMS
two restrains: budget and space_ (strucIuT,
endming (mechanical,
• To respond to these restrains he relied pion & opeofv) Eiecincal, etc.)

almost completely on light as a way to

bring meaning and beauty to the chapel.
IMPORTANCE OF CONCEPTS
• Concepts have been the designer's way of
responding to the design situation presented in the
program.
 They are derived from problem analysis
or initially prompted by it
 They are rudimentary in character.
0 They both require and must embrace
further development.
APPROACHES IN THE DESIGN PROCESS
• Techniques, models, paradigms, idioms and
processes for designing.
0 Serve as a vehicles/catalysts for
improving the effectiveness of a
designer.
 They broaden and deepen the designer's
understanding of design activities_
 Use to organize and present mformMion
for designing.
 To provide successful architectural
solutions
NATURE OF CONCEPTS
• Although design projects may begin with a single
overall direction, any building design comes is in
fact composed of many concepts.
 Concepts may be product or process
oriented and can take place in any stage
in the design process.
 Can occur in any scale,
 Can be generated from several sources.
 Have a hierarchal nature.
ECONOMIC HUMAN
(first cost FACTORS
rirrawiten,ance
cost)
kweption,
batioviijr,e1G)
◼ Functional zoning
◼ Architectural space
◼ Circulation and building forms
◼ Response to context
◼ Building envelope
INTRODUCTION to CONCEPTS
(Conceptualization Techniques in Architectural Design)
1. Goals: What does the client want to achieve, and Why?
2. Facts: What do we know? What is given?
3. Concepts: F low does the client want to achiev e the
goals?
4. N eeds : How m uch mo ney and space? What lev el of
quality?
5. Problem: What are the significant conditions affecting
the design of the building? What are the general directions
the design should take?
Programmatic Concepts refer to abstract ideas intended
mainly as functional solutions to client's performance
problems without regard to the physical response.
Design Concepts refer to concrete ideas intended as
physical solutions to client's architectural problems .

PROBLEMS IN CONCEPT GETTING Improper

security provisions

• Building exceeds client budget.
• Incompatible activities zoned together.
• Inefficient layout
• Spaces too large or cramped.
• Furniture don't fit activity patterns.
• Too much or too little furniture in spaces
• Building won't accommodate future growth and
change.
• Poorly utilized land
• HVAC Systems difficult to service.
There are many programmatic concepts that seem to crop
up on nearly every project, regardless of the building types
housing, hospitals, schools, shopping centers, or factories.
1. PRIORITY
The concept of priority
evokes questions regarding the
ORDER OF IMPORTANCE, such as relative position, size,
and social value. This concept reflects how to accomplish

UST Architecture I College of Architecture I TOA2 I Handout 1 I Updated SY. 2021 22 - Page 2
• Oversized or undersized HVAC a goal based on a ranking of values.
• Over - designed or under - designed lighting.
 For example:
To place a higher value on "pedestrian traffic" than
on "vehicular traffic" may release to the precedence
in traffic flow.
2. HIERARCHY
The concept of hierarchy is related to a goal about the
ex er ci s e o f au t ho r ity and is ex p res s ed in s y m bo ls o f
authority.
For example:
The go al to maintain the traditio nal hierarchy o f
military rank maybe implemented by the concept of
hierarchy of office spaces.
3. CHARACTER
The concept of character is based on a goal concerning the
image the client wants to project in terms of values and
generic nature of the project.
4. DENSITY
A go al f o r eff icient land o r s pace us e, a go al f o r 2 1 1
degrees of interactio n, o r a go al to res po nd to hars h
climatic conditions may lead to the appropriate degree of
density — low, medium, or high density.
5. GROUPING
SERVICE GROUPING
• S h o u l d services be CENTRALIZED or
DECENTRALIZED? Should the HEATING system be
CENTRALIZED or DECENTRALIZED? The library?
And the Dining? And storage? And many other
services.
ACTIVITY G ROU PING
• Should services be integrated put together) or
compartmentalized (grouped)?
• A family of closely related activities would indicate
integratio n to prom o te interactio n, w hile the
need for some kinds and degrees of privacy or
security would indicate compartmentalization.
PEOPLE GROUPING
• Concepts derived from the physical, social, and
emo tional characteristics of people — as
individuals, in small groups.
• Look to the functional organization and not to the
o rganiz atio nal cha rt, w hich m erely indica tes
pecking order.
5. HOME BASE
• Home base is related to the idea of territoriality —
a n ea s i l y d ef in e d p l ac e w h e re a pe rs o n c a n
maintain his individuality.
This concept applies to a wide range of functional
s ettings — f o r ex am ple, a high s cho o l, o r
manufacturing plant, many organizatio ns hav e
recommended new settings for office work.
These "officing" co ncepts are des cribed in the
following as "ON-PREMISE or OFF-PREMISE work
settings
7. ADDRESS— This concept refers to workspaces.
FIXED ADDRESS
• This concept refers to a traditional work setting
where one person is assigned to a workplace.
• The co ncept of shared address is similar, fo r
example, a single office assigned to two or more
people — double occupancy
FREE ADDRESS
• This concept refers to a designated grou p or team
space assigned for a specific period of time.
• Within the team area, individuals are assigned
workspace on as-needed (free address) or first-
come, first-serve basis.
UST Architecture I College of Architecture I TOA2 I Handout 1 I UpdatedS.Y, 2021 22
GROUP ADDRESS
• This concept refers to a designated group or team
space assigned for a specified period of time.
• Within the team area, individuals are assigned
workspace on as-needed (free-address) or first-
come, first-serve basis
8. RELATIONSHIPS
The co rrect interrelatio n o f s paces pro mo tes
efficiencies and effectiveness of people_and their
activities.
This concept of functional affinities is the most
common programmatic concept.
9. COMMUNICATIONS
A go al to pro m o te th e ef f e c tiv e ex cha ng e o f
info rmation o r ideas in an organizatio n may call
for networks or pattern of communications.
10. NEIGHBORS
• Is there a goal for sociability? Will the project be
co m pletely independent o r is there a m utual
desire to be interdependent to cooperate with
neighbors?
11. SPATIAL FLOW
SEPARATED FLOW
A goal for segregation may relate to people such
as pedes trian traffic, and automo bile traff ic.. MIXED
FLOW
Common social spaces, such as town squares, or
building lobbies are designed for multi-
directional, multi-purpose traffic—or mixed flow.
His concept may be in this regard if the goal is to
promote chance and planned encounters
SEQUENTIAL FLOW
The progression of oeoole_(as in a museum) and
things (as in a factory) must be carefully planned.
A f lo w - c h a r t d ia g r a m w i ll c o m m u n i c a t e t h i s
co n ce pt o f s eq ue nt ial f lo w m u ch eas ie r t ha n
words will.
12. ACCESSIBILTY
Can first-time visitors find where to enter the project?
• T h e c o n c e pt o f a c ce s s ib il i ty a ls o a pp l ies to
provisions for the handicapped beyond signs and
symbols.
• Do we need single or m ultiple entrances?
13. ORIENTATION
• Provide a bearing- a point of reference within a
building, campus, or a city.
Relating periodically to a space, thing or structure
can prevent a feeling of being lost.
14. FLEXIBILITY
The concept of flexibility is quite often
misunderstood.
To some, it means that the building can
accommodate growth through expansion.
To others, it means that the building provides the
m o s t f o r t h e m o n ey t h r o u g h m u l t i - f u n c t i o n
spaces..
Actually, flexibility covers all three- expansibility,
convertibility and versatility
15. TOLERANCE
This concept may well add space to the program.
Is a particular space tailored precisely for a static
activ ity o r is it prov ided with a loos e fit f or a
dynamic activity- one likely to change.
15. SAFETY
• Which major ideas will implement the goal for life
safety?
- Page 3
 • Look to codes and safety precautions for form- %80%99enfant%E2Y080%99s-sacred-design-
giving ideas washington-dc
.

17. SECURITY CONTROLS The Getty Center retrieved from

The degree of security control varies depending https://www.richard m eier.comPproje cts= th e-ge tty-
upon the value of the potential loss - minimum , center
medium, or maximum. University of Virginia retrieved from
These co ntro ls are used to protect property and https://en.wikipedia.orgiwikirhomas JeffersontiUniv
to guide personnel movement. ersity of Virginia .
18. ENERGY CONSERVATION Whitney Museum retrieved from
T h e r e a r e tw o ge ne r a l w a y s to le ad e ne r gy - https://www.a rchdaily.corr/128627/a d-classics-
efficient buildings: whitney-museum-marcel-breuer
a. a. Keep heated area to a minimum by making use White, Edward .T. (1975) Concept Sourcebook: A
of conditioned, but non-heated, outside Vocabulary of Architectural Forms. Tucson: Konemann.
space, such as exterior corridors; and https ://w ww .slides hare.neticoo lgir10 00 0 /co ncept -
b. b. Keep heat flow to a minimum with insulation, source-boo k-edward-white www.academia.edu
correct orientation to sun and wind,
compactness, sun controls, wind controls, and Lifted and updated from the lecture materials of Ar. Willa
reflective surfaces.
S. Solomon, M.S. UAP and Ar. Vicente J. DayagJr.M.S.,
19. ENVIRONMENTAL CONTROLS
UAP, PIEP
What co ntro ls f o r air tem perature , light and
I mages from www.archinfo.com .tw
s o un d w i ll b e req ui re d to p ro v i de f o r p eo pl e
comfort inside and outside the building?
Pella, William M. and Steven A. Parshal. Problem Seeking
Look to the climate and sun angle analysis for
An Architectural Programming Primer, John Wiley and
answers.
20. PHASING Sons Inc., New York, 2001

• W i ll ph as i ng o f co ns t r u c tio n b e r e qu i r ed to Lifted and updated f rom the lecture materials of

complete the project on a time-and-cost schedule Ar. Chris Luna, uap and Ar. Corazon Gonzales, fuap
if the pro ject pro v ed inf eas ible in the init ial
analysis?
Will the urgency for the occupancy date
determine the need for concurrent scheduling or
allow for linear scheduling?
21. COST CONTROL
• This concept is intended as a search for economy
ideas that will lead to a realistic preview of costs
and a balanced budget to meet the ex tent of
available funds.
Sources::

A Design for the East Building. retrieved from

https://www.nga .govifeaturesislideshowsia-design-
for-the -ea st- b uild ing.html
Chapel of St. Ignatius retrieved from
https://www.sea ttleu.edu/cha pelf
Clinton Presidential Center retrieved from
https://en.wikipedia.ora/wiki/Clinton Presidential Ce
nter
Educatorium retrieved from https://tinyurl.com/yx9utkzq

Kroll, Andrew Villa Savoye by Le Corbusier. Archdaily.

retrieved from https://www.archclaily.com/84524/ad-
classics-yilla-savoye-le-corbusier
Moore, Rowan (2017) Pompidou Centre: a 70s French
radical that's never gone out of fashion. The Guarda in
retrieved from
https://www.theguardian.com/artanddesign/2017/ian Copyright 2022 by University of Santo Tomas College of
/08/pom piclou-centre-40-years-old-review-richarcl- Architecture TOA 2 Sub-cluster
rogers-renzo-piano
This lecture was produced by the Theory of Architecture
Seattle Library, retrieved from 2 (TOA2) Sub-cluster in preparation for S. Y. 2021-22.
https://www.arch2o.comiseattle-library-ornai These pages and any portion thereof may not be
Selman, Will. (2018) L'Enfant's sacred design for reproduced or used without the written consent of the
Washington DC The Urban Revolutionary Blog University of Santo Tomas College of Architecture except
retrieved from for brief quotes or for review.
https://www.cnu.orgipublicsquare/2018/02/21/1%E2

UST Architecture I College of Architecture l TOA2 I Handout 1 I Updated SY. 2021 22 - Page 4
 V
Creativity and Design Paradigm
The Architectural Design Process

INTRODUCTION individual and social change, career development, and

"A person trained in the creative process has a greater executive and professional education.
chance of developing worthwhile innovations than the
person without such specialized training." FEELING
- Prof. John Arnold &MN*
Mt,
TRAINING
The educator has the special obligation of encouraging and
helping his student to develop their mental faculties; in KOLB'S
DOING EXPERIENTIAL WATCHING
short but not accurately-the student should be taught how LEARNING
CYCLE
to think.
#StudentsNeedModels #ModernMasters
It is encouraging that an application of creative type of THINKING
teaching in this subject be adapted , a type of teaching,
which will combine thinking effort with learning effort, and
thus develop thinking ability while implanting knowledge. https://www.uwindsorcatfahss/1005/what-experientiakeducation
#Apply Learning Approach and Retention Rates
#Experiment
Type of Learning Approach Retention Rate
Functions of Mental Capacity I
◼ Absorptive - which is the ability to observe and to Abstract Conceptualization 20%
apply attention; AC + Reflective Observance 50%
◼ Retentive - which is the ability to memorize and to
AC + RO + Concrete Experience 70%
reca II;
AC + RO + CE + Active Experimentation 90%
◼ Reasoning - which is the ability to analyze and to
judge and Instruction Strategy Average Retention
◼ Creative - which is the ability to visualize, to for Rate
see, and to generate ideas. Lecture 5%
Formal Mental processes Reading 10%
◼ J udgment — w herein ref lectio n, o n the pas t
Audio-visual 20%
re late d ex pe rie nces , tha t ca n lea d to the
formulation of values through comparison and Demonstration 30%
discrimination, and Discussion Group 50%
◼ Imagination - wherein some process of the mind
Practice by Doing 75%
leads to the formulation of mental images or
Intermediate Use of Learning 90%
concepts.
Ways to Develop Creativity
1. Exercise to develop the mind. ◼ Rates of forgetting content without follow -
2. Experience provides fuel for up and review of content
ideation. ◼ Reading info on a computer screen is 25% less
efficient than reading it from paper
3. Playing games such as solving
puzzles
4. Engaging in hobbies and fine arts. Point in time Retained Forgotten
After 1 day 54 % 46%
5. Creativity thrives on reading.
#ActualExposure After 7 days 35% 65 %
#EsquizzesHelp
#DoResearch
After 14 days 21 % 79%
#ExpressYourself After 21 days 18% 82%
#HaveFun! After 63 days 17% 83 %

Media as a Learning Aid

75% - 95% of what we learn comes through the sense of
sight
10% - 15% through hearing Creative-Problem Solving Procedures
3% - 4% through smell 1. Fact — finding
1% - 2% through touch ◼ problem definition picking and pointing
KOLB'S LEARNING CYCLE up the problem
David Allen Kolb (born December 12, 1939 in Moline, ◼ preparation - gathering and analyzing the
Illinois) is an American educational theorist whose interests pertinent data
and publications focus on experiential learning, the 2. Idea-finding
◼ idea-production - thinking up tentative
ideas as much as possible which leads to;
◼ idea-development - selecting the most
l i k e l y o f t h e re s u l t a n t i d e as , a d d i n g

UST Architecture I College of Architecture I TOA2 I Handout 3 I Updated S.Y. 2021-22 Page 1
 others, and reprocessing all the these by
such means as modification and
combination
3.Solution-finding
◼ ev al ua tio n - v e rif y in g t he t en ta tiv e
solution by test or otherwise
◼ adoption - deciding on an and
implementing the final solution Essentials to Development
of Creative Skills
◼ Ideation
❑ Refers to the mental process
itself
❑ "to think", to train one's self in
new and unique ways
◼ Idea Quantity
❑ The pe rs o n w ho pro du ces a
number of ideas per unit of time
has the greates t cha nce of
producing the truly significant
one
◼ Imagineering
❑ Letting your imagination soar
and then engineering it back to
reality
Design Approaches
◼ Design Analysis
❑ Design involves problem solving
❑ Demands idea production
◼ #Bionics
◼ Tentative Solutions
❑ B rainsto rm ing — a gro up
process, discussing the problem
and contributing positive ideas
to solve a problem
◼ #Patience
◼ Critical Analysis
❑ Constructive criticism
helpful
◼ Conventional
❑ Analytical approach (SWOT)
◼ Learningfrom
d i f f e re n t m o de l s o r
case studies
◼ Operational Process
❑ C o n c e p t u a l d e s i g n ( p l a n n i n g and the design
process)
❑ Operational design (synthesis of
design express in wo rking
drawings)
Methodology- is the systematic
method of problem solving
It involves the systematic breakdown of
bo dy o f k no w ledge into its w o rk able
parts
◼ Pre-statement
◼ Problem Statement
◼ Information
❑ Literature - archival,
documentation
❑ Consultants — interview
❑ Observation — survey
◼ Analysis and Programming
❑ Objectives
❑ Consideration
❑ Concept
◼ Synthesis and Evaluation
❑ Schemes
UST Architecture I College of Architecture I TOA2 I Handout 3 I Updated S.Y. 2021 22
❑ Design Development
❑ Final Solution
The Architectural Design Process
How does the PROCESS work?
The architectural design process is organized to ensure that
objectives are reached in order of priority; the highest
priorities are addressed and the largest design solutions are
arrived at first, then the details fall in place in concert with
the larger issues and ideas.
Without this approach, the resulting building is just a
random collection of unrelated decisions.
jROBERT T. COOLIDGE, AIA)
Architectural Design Process
The Classic Steps to the Process
The process is typically broken
down into the following steps:
1. Pre-Design Phase (PD)
2. Schematic Design Phase (SD)
3. Design Development Phase (DD)
4. Construction Documents Phase (CD)
5. Bidding & Negotiation Phase (BN)
6. Co ns tructio n Observatio n/Co ntract Adm inis tration
Phase (CA)
7. Supplemental Services (SS)
*Every project is unique, and not all projects follow this
process exactly
As with all forms of technological design
11111111rctural
is Design is concerned
with satisfying human
needs .
The outcome or result
architectural design
is a large-sc-ai_e
Pre-Design Phase
1. The Architectural Design Process begins when a
client identifies a need to accommodate new or
expanded activities
2. The client will interview a number of architectural
firms in order to determine which one will have
the combination of experience, skill and resources
that will make them the best choice to design the
building
3. The 'successful' or chosen architect will be hired
— The architect works closely with the client in
order to clearly understand their user needs.
4. The architect then produces a Design Program.
5. This is a written document that spells out the
characteristics that the new building must have in
order to satisfy the identified needs.
6. or commissioned — to carry out the design project,
The Design Program is a design brief for the building
It begins with a Problem Statement
- Page 2
 ◼ make a clear and sharply-defined statement of The Program also includes Design Requirements. These are
actual problem detailed and specific properties that the building must have
Project Goals and Objectives in order to be successful.
Goals The Pr ogr am a ls o in c ludes Des ign Requ iremen ts. These ar e de ta iled and
specific properties that the building must have in order to be successful.
Goals are high-level statements that provide
Space List - the functional areas that are to be provided.
the overall context for what the project is trying Sizes and Dimensions • the floor area and critical lengths and heights of the
spaces.
to accomplish. Proximity Relationships - how close the spaces must be to each other and
Objectives the type of access between them.
Fixtures and Fittings - detailed built-in features and equipment required to
• Objectives are concrete statements describing support the functions of the spaces.
Special Features - anything unusual that must be provided in order for the
what the project is trying to achieve. spaces to function properly.

Site Analysis
the design concept (the thought, the idea, model, theory, The following elements typically are considered in most
impression, perception, philosophy etc.) that went into the sites:
evolution of the project;
1. Locatio n: The site should be related to majo r
the design objectives are statements containing specific
streets or landmarks previously existing. There
aims in how a project shall be designed or planned.
should be documentation of distances and time
• Most often, the DO relates to the PO (project
from major places
objectives).
2. The following elements typically are considered in
If the PO is intangible, the DO is the tangible
most sites:
method of designing the project.
1. Location: The site should be related to
The Concept
major streets or landmarks previously
Shape
lopography Spaces
existing. There should be documentation
Roads Site Functions Areas
View Relations of distances and time from major places
Temperature Gender 2. Neighbo rhood contex t: Zoning of the
S un
Climate Users Socia
wind Culture neighborhood is important and
Humidity
Vision
Clients Budget
information of this type can typically be
Height Schedule
Forms Buildings found at the municipal or city planning
.:olors
office. Features include: a rchitectural
Solution Exterior For t
Concept patterns , street lighting, co ndition of
SkEr.che Idea
Drawings Interior Space Variety
Analogy
Metaphor
existing buildings & the immediate
Details Texture Balance
Colcr Symmetry
surroundings of the site.
Scale
Size
Asymmetry
Proportion
The following elements should also be
Volumes Unity
Shapes Rhythm Yasser
analyzed:
• reaction of the
l a r e o n . c c r t a m i l t e c t u a l l e a l p w . p t 7 1 3 2 . - p i p a p p 0 1 . . 1 1 4 . e l e a l p c o ■ c e e ■ e a t I m - 1 - 7 2 : 3 J p g, b - 1 3 6 1 2 7 6

IV:01mage.s I Elements Principl es Malloub

s u r r o u n d i n g b u i l d i n g s to w ards t he s it e
and p eo pl e m o v in g around
0
0 • e x i s ti n g p a t hs (p e des t r ia n , cy c li s t,
a n d vehicle)
• landmarks: are distinctive sites
t h a t provide way-finding for people in the
area, and which define the character of a
To answer the call for improvement of the healthcare system in the Philippines'
neighborhood
 1. The 250 Merl private general hospital must be
- to • n o d e s : a re k e y p u b li c ga t h e r i n g p l a c es
13.
provide maximum health-care. that en co urage peo ple to linger an d
o To design the facility with a wide range of services and functional socialize.
units to address the standards of a General hospital.
3. Size and zoning: Site boundaries can be located
 2. The patients must be able lu attain natural healing arid by either v erify ing the dim ensio ns phys ically o r
- medical intervention at the shortest possible time.
contacting the municipal or city tax assessor's office.
0

To devise a plan wherein the patient enjoys the

• company of his/her family by providing a homey V zo ning clas sif icatio ns
environment.
V set- backs
V height res tri ctio ns
the design consideration/s refer to the factors that may
V allow able s ite co v erage
influence the achievement of a design objective's (e.g. lush
V uses
v egetatio n, traf f ic, so cial mo res, po pulatio n dens ity ,
orientation, building character, beliefs, etc.) V parking requirements are obtained by obtaining zoning
classifications from a zoning map, which can be
the design criteria include design principles necessary to located from the city planning department.
create a functional and dynamic structures; standards,
no rm s a nd co nd it io ns the p ro po ne n t s ho u ld m eet i n 4. Infrastructure, social, and political boundaries.
designing his/her Cnnon.t
project Testing 5. Legal: Information can be obtained from the deed
Structuring
Problee■ Formulation p cui
gPi,a pmm t Om olDeuign
ve ppma n t no.14 -pr ri nni
to the property. The deed is information such as
Otr Construction

the property description, present ownership, and

Prel imi nary p e t a le d
Final the governmental jurisdiction the site is located
Initial Design
Design
P r o j e c t P h e s e ,
'Building) in, and the city or county.

UST Architecture I College of Architecture I TOA2 I Handout 3 I Updated S.Y. 2021- Page 3
22
 6. Natural physical features: Information will be
derived from the topographic features on the site.
A contour map of this magnitude can be located
from the survey engineer.
Drainage problems as well as existing natural
features of trees, ground cover, ground texture,
and soil conditions on the site should be directly
observed.
7. Man made features: Features located on the site
such as buildings, walls, fences, patios, plazas, bus
s to p s helters s ho uld be no ted. The s ite and
lo catio n o f s uch f eatures s ho uld be di rect ly
measured.
8. Documentation of existing historical districts
should be made, some of which may already have
reports completed. This information can be taken
the municipal or city planning office for the site.
9. Circulation: The uses of streets, roads, alleys,
s i dew al k s , a nd p la z as a r e im p o rt a n t in t hi s
inventory step. It is not necessarily an analysis of
these elem ents but mo re an analys is of w hat
occurs on these circulation gateways
10. Utilities: Information for utilities concerning the
site can be found through the utility departments
and companies in the local area. They have a print
of the drawing of the informa tio n needed
including the location of all utilities and their
locations around or on the site itself.
Working with the client, the architect will also...
Identify the budget (maximum cost) for the project, divided
into individual cost elements, such as site services, parking
and ro adw ay s , la nds ca pi ng, f o u nd at io ns , s t r u ct ur e ,
building envelope, etc)
Determine the project schedule, including critical dates
and lengths of time required for various parts of the design
and construction work.
Schematic Phase With
the Program complete,
and there to guide the
design activities, the architect will next generate ideas.
Schematic Des ign is a search fo r an ess ential
organizing principle
An idea that will suggest the overall arrangement
and form for individual and groups of spaces that
makes up the building.
There are a series of steps to the Schematic Design phase:
the creation of 'Bubble Diagrams' illustrating the
approximate size and relative position of spaces,
both the horizontally and vertically;
'f les hing o ut ' the B ubble Diag ram s into tw o -
dimensional rough Schematic Plan layouts and
three-dimensional Massing Models, by
incorporating specified floor areas and critical
dimensions (lengths and heights) of Spaces;
s tu dyin g th e M ass in g M o de ls on th e s it e
considering:
V the lo cation of the building relative to pro perty
lines (setbacks), topography and other physical
features
V the orientation of the building to sun, winds, other
buildings and surroundings
V access to/from the building and site
V making adjustments to the Schematic Plans and
Massing Models to closely integrate the building
and site
V the building is shaped to fit the site and/or the site
UST Architecture I College of Architecture I TOA2 I Handout 3 I Updated S.Y. 2021 22
is altered to accommodate the building.
During Schematic Design, a number of alternative
design ideas are generated, and brought to the same
level of resolution
V This pro cess involves sw itching back -and- fo rth
between two-dimensional Schematic Plans and
three-dimensional Massing Models checking that
the req uirem ents o f the des i gn Pro g ram are
generally being satisfied.
V The alternative Schematic Des igns are pres ented
to t he cl ie nt w ho co m m e n ts o n , s e le cts an d
approves the 'best' design alternative for further
elaboration in the Design Development stage of
the process.
V The a rchitect revis es the approv ed design in
response to the client's comments and needs V
The Schematic Design is developed to a greater V
level of detail.
V T h e a r c h i t e c t c o o r d i n a t e s t h e w o r k o f o t h e r des ign
pro f es s io nals w ho are respo nsible for different
aspects of the building.
V Engineers who design the structural, mechanical and
electrical services inside the building.
V C iv il e n gi n ee rs a n d la nd s ca pe a r c hi t e c ts w ho
design the grading, drainage, planting and site features
outside the building
V During Design Development decis ions are made
about the materials and methods of construction to be
used especially with respect to the building envelope in
order to 'realize' the design concept that was
established by the Schematic Design
V During Design Development the space plan is
worked out in detail to ensure that the layout of the
Interior and circulation spaces, will allow the building to
function the way it is intended to and building service
systems are designed that will support the function of
individual spaces.
V During Design Development a cost estimate is prepared
to ensure that the design is within the established
budget.
V Also, the project schedule is reviewed to make sure
that it can still be achieved
V The developed design is presented to the client for
review and approval.
Contract Documents Phase
◼ The Contract Documents stage is when working
drawings and specifications are produced.
◼ These documents use a combination of graphics
( d r aw in gs ) a n d w r i t te n i nf o rm a t io n ( no t es ,
schedules and specifications) describe the
building thoroughly and precisely enough that it
will be possible to construct it.
◼ During Design Development a cost estimate is
prepared to ensure that the design is within the
established budget.
◼ Also, the project schedule is reviewed to make
sure that it can still be achieved
◼ The developed design is presented to the client
for review and approval.
Detailed Design
The arrangement, size and shape of stairs, ramps,
elevators and other parts of the building's
circulation system.
- Page 4
 The fabrication of doors and screens and the
assembly of the partitions that create the interior
space plan of the building.
• Detail Design also includes the design of the many
fixtures and fittings — built-in components of the
building - such as cabinets and counters.
• The selection of interior finishes, such as floor
coverings, ceilings, paint and coatings.
• For this work the architect may engage the
services of another design professional - an
interior designer.
The Contract Documents will be used by potential
constructors to prepare quotations - to tender
competing bids - setting out the price they would
charge to construct the building.
Once a constructor has been selected, the
documents will form part of a legal agreement — a
contract — between the constructor and the
client/owner.
Portions of the documents will be used by each of
the many sub-trades that carry out specific parts
of the work (concrete forming and pouring,
structural steel erection, carpentry, plumbing,
electrical work, etc).
The constructor will use the contract documents
to coordinate and schedule the work of the sub-
trades so that everything is done safely and on-
time.
Area Method -Estimated Cost for BUILDING as of 2021
Low Cost Construction:
P16,000.00 to P25,000 per square meter
Middle End Construction:
P26,000.00 to P35,000 per square meter
(P29,500 average estimate in practice)
High End Construction:
P36,000.00 to P45,000 per square meter
(based on 2019 building material prices, DTI)
UST Architecture I College of Architecture I TOA2 I Handout 3 I Updated S.Y. 2021 22
Sources::
Arnold John E. and William J. Clancey (Introduction).
Creative Engineering: Promoting innovation by
Thinking Differently. Kindle Edition.
Bergqist, W. H. & Phillips, S. R (1975). Getting Students
involved in the Classroom. Washington, D.C.
Broadent, Geoffrey (e1969). Design Methods in
Architecture. G. Wittenborn. New York.
Hack, Gary (2018) Series: Site Planning, International
Practice Vol 1. The MIT Press. Cambridge,
Massachusetts. eBook
Jones, J. Christopher (1992). Design Methods. John Wiley
& Sons.
Lynch, Kevin and Gary Hack (1984 3rd Ed.) The Art of Site
Planning: M.I.T. Press. Cambridge, Massachusetts.
The 2010 Standards of Professional Practice (SPP) (2010)
as the Supplemental IRR of R.A. No. 9266 (The
Architecture Act of 2004) United Architects of the
Philippines. Quezon City.
White, Edward .T. (1975) Concept Sourcebook: A
Vocabulary of Architectural Forms. Tucson: Konemann.
https://www.slideshare.net/coolgir10000/concept-
source-book-edward-white www.academia.edu
Lifted and updated from the lecture materials of
Ar. Chris Luna, uap and by Ar. Willa R. Solomon
Ar. Jonathan Ma na lad
Copyright 2022 by University of Santo Tomas College of
Architecture TOA 2 Sub-cluster
This lecture was produced by the Theory of Architecture
2 (TOA2) Sub-cluster in preparation for S.Y. 2021-22.
These pages and any portion thereof may not be
reproduced or used without the written consent of the
University of Santo Tomas College of Architecture except
for brief quotes or for review.
- Page 5
 UST Architecture
CONCEPT: Functional Zoning
(Activity Analysis and Linkages)
CONCEPT: Circulation and Building Form
(Linkages for Efficiency in Shelter)

◼ Sequence in time
CONCEPT: Functional Zoning ◼ Required Environment
(Activity Analysis and Linkages) ❑ Furniture Types
❑ Need For View
Introduction ❑ Need for Ceiling Height or shape
Approaches in the Design Process ❑ Special Electrical Needs
Te ch niq ues , m o del s , pa ra digm s , idio m s a nd
◼ Types of effects produced
processes for designing
❑ Radiation Produced
• Serve as a vehicles/catalysts for
❑ Smokes and Fumes
improving the effectiveness of a designer
❑ Chemicals
• They broaden and deepen the designer's
◼ Characteristics of people involved
understanding of design activities
◼ Volume of people involved
• Use to organize and present information
◼ Extent of man and machine involvement
for designing
◼ Degree of emergency or critical situations
• To pro v id e s u cc es s f u l ar c hi te ct u ral
◼ Relative of speed of respective activities
solutions
◼ Frequency of activity occurrence
Concepts have been the designer's way of responding to
◼ Duration of activities
the design situation presented in the program
• They are derived from problem analysis ◼ Anticipated growth and change
or initially prompted by it.
• They are rudimentary in character CONCEPT: Circulation and Building Form
• They both require and must embrace
further development
(Linkages for Efficiency in Shelter)
Although design projects may begin with a single overall
direction, any building design comes is in fact composed Circulation and Building Forms CONCEPTS
of many concepts.
• Co ncepts m ay be pro duct o r pro cess Circulation — movement through space
oriented and can take place in any stage ◼ Can be conceived as the perceptual thread
in the design process that links the exterior/interior spaces of a
• Can occur in any scale structure
• Can be generated
from several sources
Circulation Elements
• Have a hierarchal
nature ◼ The building approach
Checklist In Deign ❑ Frontal
❑ Oblique
Concept by
❑ Spiral
Categories
◼ 2. The building entrance
❑ From outside to inside
◼ Implied (change of level)
DESIGN
SOLUTION
◼ Real (pillars, gateway)
❑ Entrance
◼ Flush, Projected, Recessed
◼ Emphasized, Circuitous
Centered, placed off-center
articulated
• Functional zoning ◼ 3. Configuratio n of the path (majo r and mino r
• Architectural space axis)
• Circula tio n a nd building fo rm s
❑ Linear-
• Response to context
◼ straight or curvilinear,
• B u i l d i n g e n v e l o p e ZONING according to ◼ segmented (intersected, have
use and need. Relating the spaces and areas according to branches)
specific activities and service. Functional Zoning ◼ looped
Concepts ❑ Radial
❑ Spiral (stairs, ramps)
◼ Need for Adjacency ❑ Grid
◼ Similarity in general role ❑ Network (random paths that co nnect
◼ Relatedness to Departments, Goals and Systems
established points)
❑ Compos ite (com binatio n o f the abo ve)
◼ 4. Path-space relationships
UST Architecture I College of Architecture I TOA2 I Handout 4 I Updated S.Y. 2021-22 Page 1
 ❑ Pass by spaces ◼ Routing systems through buildings
❑ Path through spaces
❑ Terminate in a space
◼ 5. Form of the circulation space
❑ Exterior (promenade, malls)
❑ Interior (Corridors, balconies, galleries,
stairs, rooms)
❑ Enclos ed, o pen o n one side, o pen o n
both sides

Circulation and building form

◼ Line generated circulation

◼ Point generated circulation
◼ Circulation within circulation
◼ Space-circulation relationships
❑ Space to circulation linkages
◼ Side, Flanking,
◼ over, under,
◼ diagonal, through, neck link
❑ Plan Concepts for Spaces of similar size
and shape
◼ Single, double loaded
◼ Alternate, solid , void
◼ Random voids, graduated
spacing
◼ Graduated distances from
circulation axis
❑ Sections concepts for spaces of similar
size and shape
❑ Plan Concepts for Spaces of different
sizes and shapes
◼ Zone size differences outside
◼ Zone size differences inside
❑ Sections concepts for spaces of different
sizes and shapes
❑ Plan concepts for spaces of different
shapes
❑ Sectional
concepts for
spaces of
different shapes
◼ Space-circulation sections
◼ Placing unique space shapes in plan
◼ Entry points for circulation
❑ Definition of overall circulation form
❑ Entry at s pecial points o n circulatio n
shape
❑ Entry definition by space, size, shape and
placement
◼ Placingvertical circulation at unique points in plan
❑ Locate at joints in circulation patterns
❑ Ends of circulation
❑ Centers, corners, entry points
◼ Movement systems
❑ Systems may occur in plan and section
❑ Simple sequence
❑ Multiple parallel sequences
❑ Multiple destinations
❑ Grouped origins
❑ Main sequences feeding other
sequences\
❑ Converging diverging
❑ Main sequence and feeders
❑ Simple closed loop
❑ Feed back loops
❑ Main process and sub-processes
 ❑ Hollow columns outside
❑ Hollow columns inside
❑ Shafts inside
❑ Shafts outside
❑ Systems rooms on floors
❑ Entire floors given to systems
❑ Adjacent systems building
❑ Interstitial space between floors
❑ Group shafts penetration
❑ Through structure
❑ Use room soffit
❑ Above, below hallways
❑ Roof tunnels, tunnels
❑ Integrate with windows
❑ Hollow walls
❑ dropped or
exposed ceiling
❑ raised floor

Building Form
◼ Semantics-the study of meanings
◼ Architectural semantics-architectural
meanings
◼ Signals and signs
◼ 1.Signs
◼ Three types of signs
◼ I n d e x i a l s i g n - a r e l a t i o n between a signifier and the
signified (arrows indicate direction)
◼ I conic signs — a sign w hich refer to an object
denoted by a characteristics
◼ Symbolic signs-arbitrary
relation between the signifier and the signified
(associated)
◼ 2. Symbols
◼ Symbolism-
◼ basic strategy of perception
based on learning and
heredity
◼ An object or phenomenon
which has meaning, it
evokes emotional reaction
◼ Architectural, plumbing, electrical
◼ 3. Expression
◼ Architectural expression
◼ Visual expression of function

Building form Concepts

◼ Basic forms
❑ Cubes
❑ Rectangular solid
❑ Dome
❑ Truncated half dome
❑ Sphere
❑ Cylinder
❑ Half cylinder
❑ Truncated cylinder
❑ Truncated half cylinder
❑ Barrel vault
❑ Truncated vault
❑ Cone
❑ Half cone
❑ Truncated cone
❑ Pyramid

UST Architecture I College of Architecture I TOA2 I Handout 4 I Updated S.Y. 2021 22 - Page 2
 ❑ Truncated pyramid Sources::
❑ Prism
❑ Truncated prism Architectural Graphics Standards, CD Rom, 2004
❑ Irregular prism Ching, Francis D.K. (2007) Architecture Form, space and
Order, 4th edition, John Wiley and Sons, Inc. Retrieved
◼ Grouping of forms by qualities
❑ By size, proportion, and shape from

◼ Specific form to form relationships https://www.academia.edu/34808211/Architecture -

❑ Faces to faces Form Space and Order 4th edition

❑ Corners to corners Microsoft Encarta Encyclopedia, 2003.
❑ Edges to edges Lifted and updated from Ar. Willa Solomon's TOA 2 lecture
❑ Centers to centers materials
◼ Achieving visual interest Lifted and updated from Ar. Christopher Luna's TOA 2
❑ Solid-void lecture materials
❑ Proportion
White, E.T. (1975) Concept Sourcebook: A Vocabulary of
❑ Spatial paus e aro und f o cus
Architectural Forms. Tucson: Konemann.
❑ Backdrop
❑ Aim at focus
❑ Shape
❑ Position
❑ Size
❑ Progression
❑ Texture
❑ Scoring
❑ Material
❑ Level
❑ Orientation
❑ Landscaping
❑ Paving pattern
◼ Building images in plan
◼ Building images in elevations

https://www.slideshare.net/coolgir10000/conceptsource-
book-edward-white

Copyright 2022 by University of Santo Tomas College of

Architecture TOA 2 Sub-cluster

This lecture was produced by the Theory of Architecture 2

(TOA2) Sub-cluster in preparation for S.Y. 2021-22. These
pages and any portion thereof may not be reproduced or
used without the written consent of the University of
Santo Tomas College of Architecture except for brief

UST Architecture I College of Architecture I TOA2 I Handout 4 I Updated S.Y. 2021 22- Page 3
quotes or for review.
 UST Architecture
CONCEPT: Architectural Space
(Activity Analysis and Linkages)
CONCEPT: Functional Zoning (Activity Analysis
and Linkages)
Architectural Space
◼ SPACE-
◼ Expressive or artistic/aesthetic space-
created space to express man's structure
of his world.
❑ Expressive space done by
builders, planners, architects,
designers
❑ Aesthetic space studied by
architectural theorist
philosophers
◼ Architectural space- concretization of
man's existential space
SPACE in Architectural Theory
◼ Euclidian Space- three dimensional geometry
❑ Building systems
❑ Space frames
❑ Utopian city planning
❑ Divisions and partitions
◼ Theory on the Psychology and Perception of Space
◼ Physical Space
❑ Fruin's body ellipse (.29 sqm);
no to uch zo ne ( .65 sqm );
comfort zone (1.067 sqm)
❑ Anthropometrics to ergonomics
❑ Sensory perception
◼ Olfactory (nose)
◼ Temperature (skin/feeling)
◼ Acoustics (ears)
◼ Lighting (eyes/visual)
The Process of Space Organization
◼ In developing a set of basic principles for the
production of a living architecture, the designer
should think of space within a space, and not of
solids in space.
◼ The principles of space o rganiz ation fo r
architectural purposes are concerned with:
❑ the use of space (utility)
◼ service to occupants
❑ the collaboration of materials
(strength)
◼ permanence and security
❑ the contributio ns of aesthe tics
(beauty)
Space to space Relationships
◼ Space within a space
❑ A set o f a larger space and a
secondary space
UST Architecture I College of Architecture I TOA2 I Handout 5 I Updated S.Y. 2021 22
◼ Space within a space
❑ A s pac e/f o rm as a f r ee s t and in g
object with separate functions
◼ Interlocking space
❑ Interlocking portion of the volumes
can be shared by each space
❑ The interlocking portion can merge
with one of the spaces and become
an integral part of its volume
❑ The interlocking portion can develop
its own integrity that serves to link
the two original spaces
◼ Adjacent spaces
❑ schemes in separating planes
and ◼ Limit visual access between two
spaces and accommodate their
differences
Appear as a free standing plane
in a single volume
Be defined as a row of columns
but allows high degree of visual
and spatial continuity between
two spaces
◼ Be merely implied w ith a
change in level or surface
articulation between two spaces
◼ Spaces linked by a common space
❑ Ways of linking comm on space
◼ I nterm ediate s pace can diff er
in form and orientation to
express its linking function
◼ The intermediate space can be
equivalent in shape and size and
f o rm ing a linear s equence of
spaces
◼ The interm ediate space as
a linear form linking
d i s t a n t spaces
◼ The intermediate can be a large
dominating space organizing a
number of spaces about itself
◼ The fo rm of the
intermedia te space is
d e t e r m i n e d b y t h e fo rm s and
o rientat io n o f the spaces being
linked or related
Spatial Organization
◼ Configuration — to form after an arrangement of
p a r ts o r a f o rm o r f i g u re s de t e rm i n e by t he
arrangement.
◼ Context- a joining together. The whole situation,
background or environment relevant to a
particular event, personality or creation
◼ Categories:
❑ Centralized- a central dominant space
a bo u t w hi c h a n um b e r o f s e co nd a ry
spaces are grouped
- Page 1
 ❑ Linear- a linear sequence of repetitive ◼ Multiuse of space
spaces ❑ Day-night use
❑ Radial- a central space from which linear ❑ Different times of the day
organizations of space extend in a radial ❑ Different times of the year
manner ❑ Different days of the week
❑ Clustered- spaces grouped by proximity ❑ Long term use-transfer
or the sharing of a common visual trait or ❑ Simultaneous use
relationship ❑ Multi-use of parts; entrance; exterior
❑ Grid- spaces organized within a field of a area
structural or other three dimensio nal ❑ Similar use, different use
grid. ❑ Similar or different people using
❑ Zone for security, zone for HVAC
❑ Scheduled use, free time
Architectural Space Concepts ◼ Dealing with residual space
◼ Natural lighting
◼ Forming space ◼ Artificial lighting
❑ Columns, Columns and Beams ◼ Roles of lighting
❑ Columns, beams and Walls
❑ Walls and Floors, Wall Planes
❑ Ceilings and Floors, Ceiling and Walls
❑ Exterior Walls Sources::
❑ Tress
Architectural Graphics
❑ Stairs Standards, CD Rom, 2004
❑ Shelves and Furniture Ching, Francis D.K. (2007) Architecture Form, space and
◼ Spatial Qualities Order, 4th edition, John Wiley and Sons, Inc. Retrieved
❑ Static, Flowing, universal from
❑ Articulated, Stable https://www.academia.edu/34808211/Architecture -

❑ Directional, oppressive Form Space and Order 4th edition

❑ Closed/open Microsoft Encarta Encyclopedia 2003
❑ Compartmentalized, open Pickering, E. (1949) Architectural Design.
❑ Group open/closed function httpsWarchive.org/details/digitallibraryindia
❑ Segregated, integrated https://archive.org/details/in.ernet.dli.2015.20085/pa
❑ Regular, amorphous ge/n21/mode/2up
Lifted and updated from Ar. Willa Solomon's TOA 2 lecture
❑ Physical, visual
materials
❑ Making Spatial qualities
Lifted and updated f rom Ar. Chris topher Luna's TOA 2
◼ Scale types
lecture materials
❑ Intimate
White, E.T. (1975) Concept Sourcebook: A Vocabulary of
❑ Normal Architectural Forms. Tucson: Konemann.
❑ Monumental https://www.slideshare.net/coolgir10000/concept-
❑ Shocking source-book-edward-white
◼ Scalar sequence
❑ Simple progression
❑ Preparation-surprise
❑ Constriction-relief
❑ Transitions
◼ Scalar flexibility

❑ Ceiling
❑ M ul t i p l e c e i l i ng
❑ Walls, floors, multiple floor
■ Tailored space
■ Anonymous Space
■ Space to space relationships
■ Inside outside space
❑ C ont rol of v i e w
■ Division of space Copyright 2022 by University of Santo Tomas College of
❑ Walls, Storage, counter, beams, plants, Architecture TOA 2 Sub-cluster
etc.
❑ Pattern, material, color, texture This lecture was produced by the Theory of Architecture 2
■ Door placement circulation and use zones (TOA2) Sub-cluster in preparation for S.Y. 2021-22. These
■ Circulation as a space pages and any portion thereof may not be reproduced or
❑ D is pl ay, vis ual rel ief used without the written consent of the University of
❑ Ed uc at i on, Sp at i al Foc us Santo Tomas College of Architecture except for brief
❑ O rie nt at ion quotes or for review.

❑ St ore front

UST Architecture I College of Architecture I TOA2 I Handout 5 I Updated S.Y. 2021 22

- Page 2