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    15 views14 pages

    TheoryOfArchitecture Module 2

    Uploaded by

    Ləonardo Sasing

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    © All Rights Reserved
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    United Architects of the Philippines ~ Center for Career Development THEORY OF ARCHITECTURE MODULE 2 (prepared by Arch Ferdinand Isidro dela Pez, uap) Part 1; Review Notes A. Elements of Architecture 1. Need-specc Elements 2 Structural, Circulatory, Protective and Decorative Elements 3. Principles of Composition B. Architectural Planning and Design Perception/Architectural Interiors ‘Anthropometric Bases of Architectural Programming, Planning and Design ‘Space Articulation and Tentitorialty ‘Visual and Perceptual Language Psychology of Space Proxemics and Culture United Architects of the Philippines ~ Center for Career Development ‘ARCHITECTURAL SYSTEMS The Architecture of Space Structure Enclosure Experience through Movement in Space-Time Achieved by means of Technology ‘Accommodating a Program Compatible withits Context “organizational pattem, relationship, cat, hierarchy “formal image and spatial definition “quaies of shape, color, texture, scale, proportion “quaites of surfaces, edges, and openings “approach and enty “path configuration and access ‘sequence of spaces “Fight, view, touch, hearing, and smell “structure and enclosure “environmental protection and comfort “healt, safety, and welfare “durabilty and sustainability “user requirements, needs, aspirations “socio-cultural factors “economic factors "legal constraints “historical tration and precedents ‘site and environment “elma: sun, wind, temperature, precipitation “geography: sols, topography, vegetation, water “sensory and cuitural characteristics ofthe place ARCHITECTURAL ORDERS Physical Form and Space ‘Systems and organizations of “solids and voids “space “interior and exterior "structure “enclosure “machines Perceptual Sensory perception and reception of “approach and departure the physical elements by experiencing “entry and egrees them sequentially in time ‘movement through the order of spaces “functioning of and activities within spaces “qualities of ight, color, texture, view, and sound Conceptual Comprehension ofthe ordered or “images isordered relationships among a “pattems building's elements and systems, ‘signs and responding to the meanings ‘symbols they evoke “context ‘THE INFLUENCES ON ARCHITECTURE The Needs of Man 1. PHYSICAL Neods (essentials without which life could not be sustained) b. ‘Selt-preservation Food Shelter Clothing Reproduction 2, EMOTIONAL Needs (non-essentials but they must be present some form if man isto secure spiritual, as well as physical comfor) a, b. « Aesthetics Religion Recreation United Architects of the Philippines ~ Center for Career Development 3, INTELLECTUAL Needs (non-essentials but they must be present in some form if man is to secure spiritual, as well as physical comfort) a. Education b. Science ©. Goverment “Al three have influenced the development of architecture, and architecture has been, in tum, 2 manifestation of the resulting activites. ‘The Activities of Man STIMULI TO ACTION ~forces which must be satisfied if ie isto exist and civilization is to develop ‘The basic stimuli are: Desire for: 1. PRESERVATION *Most fundamental and causes man to provide shelter and comfort and to appease hunger and thirst “encourages obtaining security (religious, economic, governmental) 2. RECOGNITION “desire for prestige “pride and ambition, personal or civic, result in the struggle for posttion (for socal status, physical suoremay, intellectual attainment) 3. RESPONSE “atises from the gregarious nature of man *wish for love, friendship and sociability 4, SELF-EXPRESSION “urge of man to assert himself as an individual, to do things his own particular way “include interests concemed with: -the aesthetic — painting of architecture -the intellectual — education or science -the recteative — pia or tril of new experiences RESULTING MANIFESTATIONS — effect upon ife and architecture from: 4, PRESERVATION In obtaining food, clothing, shelter, and security, cviized man must have commerce, government, and religion. These activites call for their accompanying structures, or architecture. 2, RECOGNITION In attaining a social, religious, or political status, in expressing pride in achievement, individuals may build palaces or skyscrapers, or communities may erect cathedrals oF public buildings and monuments. 3. RESPONSE In seeking the companionship of his fellow creatures, man congregates. His social instincts cal fr fratemel buildings and cty clubs. His semi-public buildings must contain banqueting halls and balirooms; his home must have a living room to make human association possible. 4, SELF-EXPRESSION In being individualistic, man has developed creative endeavor. This is responsible for ‘aesthetic expression; for architecture in its highest form, The desire to play, to seek recreation, has encouraged the building of theatres and stadia. It has promoted travel, with its accompanying stimulating effect upon either the appreciation or production of atin general and architecture in particular. "ARCHITECTURE, represented by structures, reflects the civiization of a people. Thus, it becomes to be a RECORD of the PROGRESS of MAN. United Architects of the Philippines — Center for Career Development PRIMARY ELEMENTS As the prime generator of form, the Point indicates a positon in space. point extended becomes a Line with properties of length, direction and positon. Aline extended becomes a Plane wit properties of length & width, shape, surface, orientation and postion, A plane extended becomes 2 Volume with properties of length, width & depth; form & space; surface, entation, end position POPQUIZ'Now, illustrate the four elements as they relate to each other. PROPERTIES OF FORM ‘Shape The characteristic outine or surface configuration of a particular form. Shape is the principal aspect by which we identify and categorize forms, ‘Size The physical dimension of length, width, and depth of a form. While these dimensions determine the proportions ofa form, its scale is determined by its size relative to other forms in its context. olor A phenomenon of light and visual perception that may be described in terms of an individuals perception of hue, saturation, and tonal value, Color isthe atinbute that most clearly distinguishes a form from its environment. it also affects the visual weight of a form Texture The visual and especially tactile quality given to a surface by the size, shape, arrangement, and proportions of the parts. Texture also determines the degree to which the surfaces of a form reflect or absorb incident light. Forms also have relational properties that govem the pattem and composition of elements: Position The location ofa form relative tots environment or the visual feld within which itis seen. Orientation The direction ofa form relative to the ground plane, the compass points, other forms, oF to the person viewing the form. Visual Inertia The degree of concentration and stabilty ofa form. The visual inertia ofa form depends on its geometry as well as its orientation relative tothe ground plane, the pull of gravity, and our line of sight. Allof these properties of form are in realty affected by the conditions under which we view them. ‘* Acchanging perspective or angle of view presents cifferent shapes or aspects ofa form to our eyes. ‘© Our distance from a form determines its apparent size. ‘© The lighting conditions under which we view a form affects the clanty of its shape and structure, ‘© The visual fed surrounding a form influences our ability read and identity it PRIMARY SHAPES PRIMARY SOLIDS Circe Sphere, Cyinder Triangle Cone, Pyramid Square Cube: POPQUIZ*Draw the Primary Shapes and Solids REGULAR & IRREGULAR FORMS Regular forms refer to those whose parts are related to one another in a consistent and orderly manner. They are generally stable in nature and symmetrical about one or more axes. The sphere, oyinder, cone, cube, and pyramid are prime examples of regular forms. Forms can retain their regularity even when transformed dimensionally or by the addition or subtraction of elements. From our experiences with similar forms, we can construct a mental model ofthe original whole even when fragment is missing or another partis added. Irregular forms are those whose parts are dissimilar in nature and related to one another in an inconsistent manner, They are generally asymmetrical and more dynamic than regular forms. They can be regular ‘forms from which iregular elements have been subtracted or result from an irregular composition of regular foms, United Architects of the Philippines ~ Center for Career Development ‘Since we deal with both solid masses and spatial voids in architecture, regular forms can be contained within regular forms, In a similar manner, regular forms can be enclosed by regular forms. ‘TRANSFORMATION OF FORMS All other forms can be understood to be transformations of the primary solids, variations which are {generated by the manipulation of one or more dimensions or by the addition or subtraction of elements. Dimensional Transformation ‘Aform can be transformed by altering one or more ofthe dimensions and sfil retain its identty as a member of a family of forms. A cube, for example, can be transformed into simitar prismatic forms through discrete changes in height, wath, or length. It can be compressed into a planar form or be stretched out ino afinear one. Subtractive Transformation ‘A form can be transformed by subtracting @ portion of its volume. Depending on the extent of the sublractve process, the form can retain its inital identty or be transformed into a frm of another family For example, a cube can retain its identity as a cube even though 2 portion of it is removed, oF be transformed ino a series of regular polyhedrons that begin to approximate sphere. ‘Additive Transformation ‘A form can be transformed by the addition of elements to its volume. The nature of the additive process and the number and relative sizes of the elements being attached determine whether tho identity of the inital form is altered or retained. While subtractive form resuts from the removal of person of its original volume, an additive form is produced by relating or physically attaching one or more subordinate forms tots volumes, The basi possibilities for grouping two or more forms are by: Spatial Tension This type of relationship on the close proximity ofthe forms or their sharing of a common visual rat, such as shape, color, of material. Edge-to-odge Contact In tis type of relationship, the forms share a common edge and can pivot about that edge, Face-to-face Contact This type of relationship requires that the two forms have corresponding planar surfaces which are parallel to each other. Interlocking Volumes In this type of relationship, the fons interpenetrate each other's space. The forms need not share any visual traf. Organization of Forms Centralized Form A number of secondary forms clustered about a dominant, central parent-form. Linear Form A series of forms arranged sequentially in a tov. Radial Form A composition of linear foms extending outward from a central form in a radial manner. Clustered Form A collection of forms grouped together by proximity or the sharing of a common visual trait Grid Form A set of modular forms related and regulated by a three-dimensional grid. POPQUIZ*Illustrate the 5 examples of how forms are organized. Articulation of Forms ‘Aiculaon refers fo the manner in which the surfaces of a form come together to define ts shape and volume. An articulated form cleary reveals the precise nature ofits parts and their relationships to each cther and to the whole. ts surfaces appear as discrete planes with distinc shapes and their overall configuration is legible and easily perceived. In a similar manner, an artoulated group of forms accentuates the joints between the constituent parts in order to visually express their individual United Architects of the Philippines — Center for Career Development ‘Aform can be articulated by: ‘© differentiating adjoining planes with a change in material, color, texture, or pattem ‘© developing comers as distinct near elements independent ofthe butting planes ‘© removing corners o physically separated neighboring planes ‘© lighting the form to create sharp contrasts in onal value along edges and comers QUALITIES OF ARCHITECTURAL SPACE The spatial qualities of form, proportion, scale, texture, light, and sound utimately depend on the properties. of the enclosure of a space.’ Our perception of these qualities is often a response tothe combined effects of ‘the properties encountered and is conditioned by culture, prior experionoes, and personal interest or inctnaton Properties of Enclosure *Shape “Surface “Edges “Dimensions *Proportion *Scale “Configuration “Definition “Openings _*Degree of Enclosure (the form ofthe space) “View oF Cutiook (the focus ofthe space) “Light (the iluminations ofits surfaces and forms) SPATIAL RELATIONSHIPS ‘Two spaces may be related to each other in several fundamental ways: ‘Space within a Space A space may be contained within the volume ofa larger space Interlocking Spaces The field ofa space may overt the volume of another space. ‘Adjacent Spaces Two spaces may abut each other or share @ common border. ‘Spaces Linked by a Common Space Two spaces may rely on an intermediary space for their relationship. ‘SPATIAL ORGANIZATIONS ‘Spaces may be organized according to the folowing categories: Gentralized Organization A central, dominant space about which a number of secondary spaces are grouped. Linear Organization A linear sequence of repetitive spaces. Radial Organization A central space from which linear organizations of space extend in a racial manner. Clustered Organization Spaces grouped by a proximity or the sharing of 2 common visual trait or relationship, Grid Organization Spaces organized within the field of a structural grid or other three-dimensional framework, United Architects of the Philippines — Center for Career Development THE INVISIBLE AND THE VISIBLE STRUCTURE \Whatover the type or character ofthe bulding, parts of it are more evident tothe observer than others - the etrior is more readily seen and understood than inthe arrangement of the rooms which is called the plan. Thus, there exist the invisible andthe visible structure, or the plan pattem and the apparent volume. Elements of the Visible Structure 4. Structural Elements, a. Columns b. Wals c. Beams Framework @. Trusses 2 Circulatory Elements ‘a. Openings — to permit passage from the exterior to the interior or from one space to another b. Contidors —to allow travel rom one part of the building fo another c. Stars, Ramps, Elevators, Escalators ~ make possible the communication between the various floors 3. Protective Elements a. Roofs b. Domes Vaulting d. Balustrades 4. Decorative Elements Mouldings b, Omament i. Abstract Pictorial Ti, Non-pictortal ‘Two Forms of Decoration: ‘Two-Dimensional (painting, moseic, inlay) Three-Dimensional (orament, sculpture) PRINCIPLES OF COMPOSITION 1. PROPORTION is the equality between two ratios in which the first ofthe four terms divided by the second equals the third divided by the fourth. Ratio: Proportion: POPQUIZ*Can you represent Ratio and Proportion in terms of a b,c, and d variables and how they interrelate with each other as described above? ‘The intent of al theories of proportions isto create a sense of order and harmony among the elements in a visual construction. According to Euclid, a ratio refers to the quantitative comparison of two similar things, while proportion refers tothe equaity of ratios. Underying any proportioning system, therefore, is a characteristic ratio, a permanent quaity thas transmitted from one rato to another. Thus, @ proportioning system establishes a consistent set of visual relationships between the parts ofa building, as wal as betwoen the parts andthe whole. Although these relationships may not be immediately perceived by the casual observer, the visual order they create can be sensed, accepted, or even recognized through a United Architects of the Philippines — Center for Career Development seros of epettve experiences. Over a period of time, we might begin to see the whole inthe part, andthe part in the whole. Theories of Proportion: Golden Section Classical Orders 2. SCALE While proportion pertains to an ordered set of mathematical relationships among the dimensions of a form or space, scale refers to how we perceive or judge the size of something in relation fo something else. In dealing wih te issue of scale, therefore, we are aways comparing ‘one thing to another. 3. BALANCE ‘a. Symmetrical Balance b._ Unsymmetrical Balance 4, CONTRAST a. Contrast of Form b. Contrast of Line © Contrast of Size 4d. Contrast of Tone 5. RAYTHM a Movement b. Repetton & Spacing 6. UNITY isthe culmination of all the previously mentioned elements of design. Ifa structure has tunity, it must have Contrast, Rhythm, and Scale. Unt suggests Harmony. United Architects of the Philippines — Center for Career Development 7. CHARACTER grows out ofthe function ofthe building and the consideration of all the creative principles of composition. Character in architecture may be divided into three (3) types depending (on the: a. Function ~or use ofthe building . Association ~ or influence of traditional types & Personality - or the human quality or emotional appeal COLOR WHEEL The color wheel, on which colors are arranged in their natural order, is often used to demonstrate the relationship between colors and lo show how new ones can be created. The three primary pigment colors. (Which cannot be made from other colors) are Red, Yellow, and Blue Ifyou mix any two ofthe primary colors together you have what is known as a secondary color: © Orange = Red + Yellow When White is added to a particular color, or hue, the resulting color is referred to as a TINT and when Black is added a SHADE is produced. TONE refers to the degree of brightness. When you are decorating your home, simply being aware of the shade and tonal value of the hues that you use in conjunction with each other can help you to achieve just the right effect for balance and contrast. Colors that are positioned directly opposite each other on the color whee! - Orange and Blue, for example — are known as complementary colors. These hues are also almost opposite fo each other in character, When one dominant color is used in a scheme, the eye naturally craves the reliof and balance that can be ~actieved simply by introducing a splash ofits complementary color somewhere within the room. Red s the primary color thal sts between Blue and Yellow on the color wheel. On the Blue side, Red takes on a ‘imson hue. On the Yellow side it becomes Orange, HOMEWORK‘Draw the Color whee! and identify the Colors as they are positioned vis-a-vis their relationships with each other. Color Therapy Color therapy utiizes the fact that each major color of the rainbow represents a diferent quality of ght and that each vibrates atts own particular energy level The Rainbow RED relates to instinct, survival, and physical drive. I i the color of strength, vitality, sexuality, and passion. It increases body temperature and stimulates circulation. ORANGE is the color of joy, movement, and dance. It encourages creativity, vibrancy, and humor and is a ‘reat ant-depressant YELLOW is the color of detachment and is related to optimism, objectivity, and ego. it stimulates our lect and logical mind, GREEN is balancing, harmonizing, and restful. It soothes the emotions and heals the heart. It is most closely associated with nature, and of trusting inthe process of fife. TURQUOISE is the color to boost immunity. I is a very cooling, youthful, expressive color and one to relieve inflammatory conditions. BLUE calms and comforts. It is restful truthful, and peaceful. Its the color of honesty, devotion, and aspiration. Blue slows things down, eases stress, tension and pain ‘VIOLET is the color of introspection, meditation, contemplation, dignity, respect, and it boosts self-esteem, MAGENTA is the color of letting go and moving on. tts the nurturing and protective color of unconditional and spittal love. United Architects of the Philippines ~ Center for Career Development Supporting Hues While pure coors of the rainbow are the most nourishing and replenishing, the other colors around us should not be ciscounted, as they too have ther place in supporting ths vibrant word of coor. CAUTIONARY BLACK ~ Reflecting none of the color components of ight, BLACK is absorbent and so can be draining, Unlike the other hues which lt light pass through them, it does not transmit ight and does not ‘nourish us in any way. ‘SUPPORTIVE GREY ~ When neutral GREY is used by itself it feels flat and lifeless, yet it provides: ‘enormous support tothe other hues. ‘COLORS OF NATURE ~ The BROWN spectrum is grounding, supportive, and earthy. Brown is the color of commitment and is warm and inviting PROXEMICS Personal Space is an invisible distance, between humans, animals and thei peers. Thus, Proxemics is the term which expands the study of Personal Space in a cultura contex. In today's multicultural sociey, it should be important for communities to comprehend the different perceptions of distances, that they possess, including also the foreign ones. As @ result, misjudgment and uncomfortable ‘experiences while approaching someone from a different culture may be decreased. Personal Space deals with human assorted ideas of senses, such as: hear, sight, smell, touch and taste. ‘A research has been undertaken to focus on the emotional reactions that people have when they are ‘outside their native land n a place where people have another way of smelling or seeing, as example. Moreover, the study examined the annoying experiences that people, who lve in a multicultural settng have everyday and how these are connected to the distinct forms of perceived tentries (public spaces, houses, or buildings). The research further sought to study in what manner, these diferences of perceived spaces among cutures, andthe lack of knowedge that we have about them are causing dificutes in our nonverbal communication and affecting our human relations. GLOSSARY ‘Accent A detail that is emphasized by contrasting with its suroundings. Also, a distinctive but subordinate pattem, mot, or color. ‘Anthropometry The measurement and study ofthe size and proportions ofthe human body. ‘Anthropomorphism A conception or representation resembing the human forn or having human attributes, ‘Axis A central line that bisects a two-dimensional body or figure or about which a three-

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