HISTORY OF ARCHITECTURE 1

ARCHITECTURE LESSON REVIEWER

CHAPTER 1-2

CHAPTER 1: INFLUENCE ON ARCHITECTURAL DESIGN

I. GENERAL INFLUENCES

A. NEEDS OF MAN
1. Physical Needs
a. Self-preservation- basic needs
b. Reproduction- population to increase and continue in existence
 SHELTER- covers, protects and defends as a roof that shield from elements.
A shelter must have:
1. Necessities- warm, dry house
2. Conveniences- rooms shall be arranged economically.
3. Comforts- provide heat, ventilation and communication
2. Emotional Needs- Art in its broadest interpretation.
3. Intellectual Needs- Education, science and government demand a proper architectural setting.

B. ACTIVITIES OF MAN
If life is to exist and civilization is to develop, there are fundamental desires which must be satisfied. These
forces may be called the stimuli or action.
Their effect upon life and architecture may be as Resulting Manifestation:
1. Desire for Preservation- food, clothing and security, man must have commerce, government and
religion.
2. Desire for Recognition- desire for prestige, pride and ambition, social status etc.
3. Desire for Response- seeking the companionship of his fellow creatures, from his wish for love,
friendship and sociability.
4. Desire for Self- Expression- to do things in his own particular way.

II. INFLUENCES OF NATURE

Climate and Topography influence the life and habits of a nation.

A. CLIMATE- affects the habits and temperaments of people.

EFFECT ON ARCHITECTURE

1. PLANS
 Warmer Climates
- More open and often include courts or patios.
 Colder Climates
- More compact in arrangement. Severe cold winds are avoided by providing a cover from
portion of the building to the other.
2. STRUCTURAL ELEMENTS
Past – walls were load bearing, walls were thick to carry the load of floors and roofs. Today-walls
are no longer bearing walls. They no longer carry loads as thin as the material will permit.
3. PROTECTIVE ELEMENTS
- Roof protects the interior from the elements of climate like typhoon, heat of the sun, etc.
PAST
 Warmer Climates
- Roofs are flat and colorful. The rich red and brown tile roof in Italy.
 Colder Climates
- Roofs are steeper and less colorful
 TODAY

- Roof may be flat even in cold countries and invisible from the ground; it becomes now a
terrace to accompany fresh air and sunshine.
4. CIRCULATORY ELEMENTS
Windows-entrance of light and circulation of air. Doors, stair & corridor- circulation of human
traffic and materials.
PAST
 Warmer climates
- Windows are small in order not to admit too much light.
 Colder climates
- Windows are large in order to capture greatest amount of light.

TODAY

- Glass window has been developed which does not filter out the ultra- violet rays of the sunshine. Man also
invents machines for ventilation and heat.

5. DECORATIVE ELEMENTS

Warmer climate

- With brilliant sunshine, moldings are unnecessary and undesirable.

Colder climate

-Sculptures and moldings are deeply curved and undercut to catch maximum amount of
light.
B. TOPOGRAPHY-the general terrain or contour of the surface of the entire country- constituted barrier to
migration.
 MOUNTAIN REGIONS
- INFORMAL
 LEVEL COUNTRY
- FORMAL

C. MATERIALS - the gifts of nature for the structures of man are limestone, marble, pine and mahogany, etc.
Clay for the brick and ore for metals.

III. INFLUENCE OF MAN

1. SOCIAL CONDITIONS
a. Periods- different architectural characters in the different periods are shown in the interests of man at
that time as shown in their buildings.
b. Man’s Personality- by his appearance, something is known of his interests from the type of house in
which he lives.
c. Man’s Interests- activities and interests of man are directly responsible for the type of architecture
which he develops.
 HOUSE- shelter of man during his hours of rest.
 FACTORY- place to work and produce a commodity of change.
 CHURCH- spiritual relaxation and opportunity for worship.

THE PRINCIPLES OF DESIGN ESSENTIALS OF THE STRUCTURE

 ARCHITECTURE is an inclusive one.

 ARCHITECTURE may be a group of building or a profession.
  ARCHITECTURE is represented by a building which meets the requirements of LOGICAL FUNCTION,
SOUND CONSTRUCTION, and BEAUTIFUL COMPOSITION.

o THE INVISIBLE STRUCTURE

- The plan is the beginning of a building.
- Foundation upon which the scheme of the structure rests.
- “WE SHOULD PROCEED FROM WITHIN TO WITHOUT”

o THE VISIBLE STRUCTURE

- By enclosing space, volume or mass is created.
- It is composed of form and surface as follows:
 FORM
- Mass or volume or evidence of the 3 dimensions:
 Direction- vertical/horizontal axis of the mass
 Shape- geometric qualities
 SURFACE

AREA- surface with 2 dimensions as in a façade of a building.

 Texture- surface treatment. Rough or smooth.

 Tone- light &shade caused by openings/ projections.
 Color- applied color caused by spectrum hues.

A. FORM
- “WE SHOULD PROCEED FROM THE GENERAL TO THE PARTICULAR” – from mass to detail.
- MASS can be vigorous/weak; it can have vitality and strength, or it may be indecisive and faltering.
- In order that mass may be decisive, it should be directional.
- VOLUME has 3 dimensions: length, width and depth. It consists of: points, planes, lines. It can be a
solid or space displaced void.
- FORM is the primary identifying characteristic of a volume.

VISUAL PROPERTIES OF FORM:

a. Shape- principal identifying characteristic of form.

b. Size- real dimensions of form.
c. Color- the hue, intensity and total value of a form’s surface.
d. Texture- surface characteristic of a form.
e. Position- form’s location to its environment.
f. Orientation- form’s position relative to the ground plane.
g. Visual Inertia- degree of concentration and stability of a form.

1. SHAPE
 Is a plane’s primary identifying characteristic.
 Primary means by which we recognize and identify the form of an object.
 SILHOUETTE

In architecture, we are concerned with the shapes of:

1. Planes that enclose space- floors, walls, ceiling

2. Openings within a spatial enclosure- windows, doors
3. The silhouette of building forms

a. PRIMARY SHAPES

- should be viewed as it is distorted in perspective.

a) the circle: a series of point arranged equally and balanced about a point. It is
centralized.
 b) the triangle: a plane bounded by three sides, having 3 angles. It signifies stability.
c) the square: plane figure having 4 equal sides and 4 right angles. It represents the pure
and the national.

PLATONIC SOLIDS

 The primary shapes can be extended to generate volumes whose forms are distinct, regular and
easily recognizable; the forms are called platonic solids.
 Circles generate sphere and cylinders
 Triangles generate cones and pyramids
 Square generate cubes
 SPHERE is a centralized and highly concentrated form
 CYLINDER is a centralized about the axis defined by the centers of its two circular faces.
 CONE is generated by rotating an equilateral triangle about its vertical axis.
 PYRAMID has properties similar to those of the cone.
 CUBE is a prismatic form that has 6 square faces of equal size and 12 edges of equal length.

REGULAR FORMS

- Refer to those whose parts are dissimilar in nature and related to one another in a consistent &
orderly manner.

IRREGULAR FORMS

- Those whose parts are dissimilar in nature and related to one another in an inconsistent manner.

THE TRANSFORMATION OF FORM

1. DIMENSIONAL TRANSFORMATIONS
- Can be transform by altering one or more to its dimensions and still retain its family identity.
2. SUBTRACTIVE TRANSFORMATIONS
- Can be transformed by subtracting a portion of its volume.
3. ADDITIVE TRANSFORMATIONS
- Can be transformed by the addition of elements to its volume.

4 basic possibilities for two forms to group together are:

a. By SPATIAL TENSION- type of relationship requires that the two forms can be relatively close to
each other.
b. By EDGE to EDGE CONTACT- two forms share a common edge and can pivot about that edge.
c. By FACE to FACE CONTACT- requires the two forms to have flat, planar surfaces that are parallel
to each other.
d. By INTERLOCKING VOLUMES- two forms interpenetrate each other’s space.

To categorize additive forms according to the nature of the relationship that exists among the component
forms as well as their overall configurations. There are 5 diagrams:

1. CENTRALIZED FORMS- consist of a number of secondary forms clustered about dominant, central, and
parent form.
2. LINEAR FORMS- consist of forms arranged sequentially in a row.
3. RADIAL FORMS- are compositions of linear forms that extend out ward from central forms in a radial
manner.
4. CLUSTERED FORMS- consists of forms that are grouped together by proximity or the sharing of a
common visual trait.
5. GRID FORMS- modular forms whose relationships are regulated by three-dimensional grid.

ARTICULATION OF FORM

Articulation refers to the manner in which the surfaces of a form come together to define its shape and volume.

A form and its surface planes can be articulated by: 4 WAYS

 1. Differentiating adjacent surfaces with a change in material, color, texture or pattern.
2. Developing the corner as a distinct linear element independent of the surfaces.
3. Removing the corner to physically separate adjacent planes.
4. Lighting the form to create sharp distinction of light and dark at its corners.

EDGES AND CORNERS

For a corner to be formally active in our visual field there must be more than a slight deviation in the
geometry of the adjoining planes.

CORNERS - the meeting of two planes.

4 WAYS a corner condition can be visually reinforced:

1. By introducing a separate and distinct element that is dependent with the surfaces it joins. This
element articulates the corner as a linear condition defines the edges of adjoining planes and
becomes a positive feature of the form.
2. If an opening is introduced at the corner, a volume of space is created to replace the corner. This
opening de-emphasizes the corner, weakens the definition of the volume within the form, and
emphasizes the planar qualities of the surfaces.
3. If neither plane is extended to define the corner, a volume of space is created to replace the corner.
This corner condition deteriorates the form’s volume, allows the interior space to leak outward and
clearly reveals the surfaces as planes in space.
4. Rounding off the corner emphasizes continuity of a form’s surfaces, the compactness of its volume
and softness of its corner.

ARTICULATED CORNERS

- Independent of the adjoining planes- strengthening the edges of a form.

PLAN CONFIGURATIONS

 L-shaped configuration of planes generates a field of space from its corner outward.
 L-shaped configurations of planes are stable and self- supporting and can stand alone in space.
 An L-configuration of rooms around an outdoor living space.
 Parallel planes define a volume of space between them that is axially oriented toward the open ends of
the configuration.
 U-shaped configuration defines a field of space that has an inward focus as well as an outward
orientation.
 U- Configuration can be used in building forms and organizations.
 U- Shaped building can define a forecourt for a building’s approach as well as a recessed entrance within
the volume of the building form itself.
 Four planes- closure- since the field is completely enclosed, its space is introverted.

B. SURFACE
 Architectural surface are areas of materials which enclose a building and are of secondary importance to the
masses which they create.
 The surfaces of a structure must have texture, tone and color.
a. TEXTURE- refers to the quality of surface treatment. Texture is usually associated with materials.
- Limestone may be polished and reflect light in sparkling manner and give to the building a feeling of
strength and simplicity.
- Stucco, with its various texture or treatments to catch the sunlight, has played an important part in
the design of homes which are meditteranean in character.
- The texture of a plane’s surface, together with its color, will affect its visual weight, scale and light-
reflective qualities.
b. TONE- a variety in the use of the gradations from black to white.
- Change of impressions carried to the eye as a result of the JUXTAPOSITION of dark and light areas.
 - May be secured by the use of doors and windows or by shadows cast by projecting parts of the
building or by moldings.
 JUXTAPOSITION- to put side by side or close together to juxtapose or to pose for a painting or picture taking, to
put in position.

c. COLOR- color as distinguished from tone, results from the hues of the spectrum.
- It requires intelligent handling and a thorough knowledge of harmonies and values.
- The relationship between color and the character of a building results from the combining of war and
cool colors in proper amounts.
- The visual weight of a plane can be increased or decreased by manipulating the tonal blue of its
surface color.

CHAPTER 2: CHROMATIC ENERGY OF ARCHITECTURAL DESIGN

PSYCHOLOGICAL EFFECTS OF COLOR

 Various colors have a strongly emotional effect on people.

 It reflects the spirit of the people who create it.
 Colors definitely related to the lives of the individuals and the material things with which they are associated.

RED- produce rage or passion; exciting and stimulates the brain; aggressive quality; violence and excitement.
- Medium red- health and vitality
- Bright red- amorous connotation
YELLOW- denotes gayety; stimulating cheering- to the lazy, upsetting to the nervous; luminous color.
ORANGE- stimulating effect; used relatively small amounts; ill at ease after a short time.
BROWN- restful and warming; should combined with orange, yellow or gold so that it could not be depressing.
GRAY- cold and also depressing
WHITE- cheerful
PURPLE- sedative and soothing
BLUE- peaceful and tranquil
GREEN- cooling quality and acts as a sedative

COLOR USAGE (varies according to location)

1. RESIDENTIAL- colors used within the home must be tolerated by the whole family.
2. COMMERCIAL- colors in such an installation must relate to each other and to central scheme, and personal
choice which conflicts with the appearance of the general scheme cannot be tolerated.
3. INDUSTRIAL- artificial light must be taken into consideration in the design of industrial interior; proper kind of
light be used to avoid shadows and glare; small space walls can be warm in color. If intense heat is produce, the
walls should be painted a cool color, regardless the size of the space. In areas that are extremely cold, warm
tones should be used on the walls. Columns of industrial building should be painted in yellow or vermillion to
point them out to operators.

SAFETY COLOR GUIDES

 RED - “Stop”
- Basic color for identification
- Fire protection equipment and apparatus
- Dangerous cans of inflammable liquid
 ORANGE- “Danger”
- Dangerous parts of machine or energized equipment.
 YELLOW- “Caution” or Risk
 GREEN- “Safety”
 BLUE- “Mandatory Action”
  PURPLE- “Radiation Hazards”
 BLACK, WHITE or combination- traffic and housekeeping markings.

4. INSTITUTIONAL- the aim should be to provide an atmosphere that is friendly and inviting.
- Color and illumination are probably the most important of the visual elements.
5. EDUCATIONAL- very young children prefer strong colors, but when they grow older, their taste becomes more
sophisticated and subtle.

 Establishments such as department stores and retail or specialty shops require special color treatments. By
careful observation, one can be able to formulate guidelines similar to those given above. Each type of building
has its own needs, and these must be analyzed before any color scheme is designed for a specific project.

COLOR AS AN EXPRESSION ELEMENT OF DESIGN

 The uniform color of the wall of a room.

 The effect of the visible size on color
 Colors on a non- uniform background
 The effect of color on form
 The irradiation effect- white figure looks larger in size than the black one. They are geometrically equal.