THEORY OF ARCHITECTURE
ACTIVITIES OF MAN
1. Self-Preservation
- Food, shelter, clothing, power,
water, transportation, ecological
balance, education, sports, medical,
livelihood
2. Reproduction
- for the population to increase
3. Emotional Needs
- this has something to do with the
instincts stirred by the forces
- of religion and art
4. Intellectual Needs
- education, science and government,
demand a proper architectural
setting.
5. SHELTER
- is something that covers, protects, or
defends as a roof that shields
one from the elements and changes
6. The modern man's shelter shall have:
- Necessities
- Conveniences
- Comforts
7. GENERAL INFLUENCES
- Needs of man
- Activities of man
8. Physical Needs
- Self Preservation
- Reproduction
9. RM
- Resulting Manifestations
10. Desire for Preservation
- call for their accompanying
structures, or architecture.
11. Desire for Recognition
- result in the struggle
for position.
12. Desire for Response
- seeking the companionship of his
fellow creatures, man congregates.
13. Desire for Self-Expression
- urge of man to assert himself as an
individual
14.
- Desire for Preservation
- Desire for Recognition
- Desire for Response
- Desire for Self-Expression
15. Influences of Nature
- Climate
- Topography
- Materials
16. CLIMATE
- This affect the habits and
temperaments of people
17. Climates effect on architecture
- Plans
- Structural Elements
- Protective Elements
- Circulatory Elements
- Decorative Elements
18. Topography
- mean the general terrain or contour
of the surface of the entire country.
19. MOUNTAIN REGIONS
- The buildings should be 'informal'
20. LEVEL COUNTRY
- unsymmetrical or informal plan is
possible on such a site. 'Formal' or
balanced scheme is more
satisfactory
21. INFLUENCE OF MAN
- Social Conditions
- Economic Conditions
22. Social Conditions
- The interests of the people dictate
the type and appearance of its
buildings.
- Ex. Periods (different architectural
characters in the different periods of
architecture is shown in the interests
of man at that time as shown in their
buildings.)
- Man's Personality (something is
known of his interests from the type
of house in which he lives)
- Man's Interests
23. FRENCH RENAISSANCE  texture- surface treatment
- This was a period of multiplicity of identified with materials
detail in court life, in dress and in whether rough or smooth
architecture  tone - light and shade caused
24. VICTORIAN by openings, projections
- it was an ugly and drab variety,
 color- inherent or applied color
without the color of the French
caused by spectrum hues
Renaissance
32. VOLUME
25. CONTEMPORARY
- A plane extended in a direction other
- desire for freedom of movement and
than its intrinsic direction
an interest in athletics is reflected in
33. VISUAL PROPERTIES OF FORM
the contemporary movement in
architecture - Shape
26. Man's Interests - Size
- house- which provides shelter for - Color
man during his hours of rest. - Texture
- factory- offers a place in which to - Position
work and to produce a commodity of - Orientation
exchange. - Visual Inertia
- church- affords spiritual relaxation 34. SHAPE
and opportunity for worship - plane's primary identifying
27. The Contemporary house characteristic
- is called a functional type and one of 35. PRIMARY SHAPES
comfort  circle: a series of points
28. The present century arranged equally and balanced
- an age of competition and mass about a point
production  triangle: a plane bounded by
29. 20th CENTURY ARCHITECTURE three sides, and having three
- TRANSPORTATION
angles
- COMMERCE
 square: a plane figure having
- EDUCATION
four equal sides and four right
- REHABILITATION
angles
30. THE INVISIBLE STRUCTURE
36. Circle
- Within
- centralized, introverted figure that is
- Without
normally stable and self centering in
31. THE VISIBLE STRUCTURE
its environment
- FORM- is the primary identifying
37. TRIANGLE
characteristic of a volume
- signifies stability
MASS or volume or evidence of the 3
38. SQUARE
dimensions
- represents the pure and the national
 direction -vertical or horizontal axis
39. PLATONIC SOLIDS
of the mass - Circles generate spheres and
 shape- geometric qualities cylinders
- SURFACE - triangles generate cones and
AREA - surface with two dimensions pyramids
as in a facade of a building - squares generate cubes.
40. SPHERE
- centralized and highly concentrated
form
41. CYLINDER
- centralized about the axis defined by
the centers of its two circular faces
42. CONE
- generated by rotating an equilateral
triangle about its vertical axis
43. PYRAMID
- has properties similar to those of the
cone
44. CUBE
- is a prismatic form that has six
square faces of equal size, and
twelve edges of equal length
45. REGULAR FORMS
- refer to those whose parts are
related to one another in a
consistent and orderly manner
46. IRREGULAR FORMS
- those whose parts are dissimilar in
nature and related to one another in
an inconsistent manner
47. THE TRANSFORMATION OF FORM
- DIMENSIONAL TRANSFORMATIONS
(form can be transformed by altering
one or more of its dimensions and
still retain its family identity)
- SUBTRACTIVE TRANSFORMATIONS
(A form can be transformed by
subtracting a portion of its volume)
- ADDITIVE TRANSFORMATIONS (A
form can be transformed by the
addition of elements to its volume)
48. FOUR {4) BASIC possibilities for
two forms to group together are:
- SPATIAL TENSION (requires that the two
forms be relatively close to each other)
- EDGE to EDGE CONTACT (two
forms share a common edge, and
can pivot about that edge.)
- FACE to FACE CONTACT (requires
the two forms to have flat, planar
surfaces that are parallel to each
other
- INTERLOCKING VOLUMES (two forms
interpenetrate each other's space.)
FIVE DIAGRAMS
49. CENTRALIZED FORMS
- Consist of a number of secondary
forms clustered about dominant,
central, parent forms.
50. LINEAR FORMS
- Consist of forms arranged
sequentially in a row
51. RADIAL FORMS
- compositions of linear forms that
extend out ward from central forms
in a radial manner
52. CLUSTERED FORMS
- Consist of forms that are grouped
together by proximity or the sharing
of a common visual trait
53. GRID FORMS
- modular forms whose relationships
are regulated by three-dimensional
grids.
54. Articulation
- refers to the manner in which the
surfaces of a form come together to
define its shape and volume
55. CORNERS
- define the meeting of two planes
56. ARTICULATED CORNERS
- independent of the adjoining planes
strengthening the edges of a form
57. Parallel planes
- define a volume of space between
them that is axially oriented toward
the open ends of the configuration
58. U-shaped configuration
- defines a field of space that has an
inward focus as well as an outward
orientation
59. SURFACE
- Areas of materials which enclose a
building and are of secondary
importance to the masses which
they create.
60. SURFACE
 - TEXTURE (Refers to the quality of
surface treatment)
- TONE
- COLOR
61. JUXTAPOSITION
- To put side by side or close together
CHAPTER 2

CHAPTER 3

63. TYPICAL CONTRAST

- CONTRAST OF FORM
- CONTRAST OF LINE
- CONTRAST OF SIZE
- CONTRAST OF TONE
62. Iradiation effect 64. CONTRAST
- the white figure looks larger in size - is the opposite of SIMILARITY
than the black one. They are 65. CONTRAST IN ARCHITECTURAL
geometrically equal SUBJECT
- CONTRAST OF MASS
- CONTRAST OF DIRECTION
- CONTRAST OF CHARACTER
- CONTRAST OF TREATMENT
66. PROPORTION
- Proportion is largely a matter of
relationships
67. GOLDEN SECTION
- Defined geometrically as a line that
is divided such that the lesser
portion is to the greater as the
greater is to be the whole
68. RELATIONS
- One of the most important phases of
proportion
69. FACTORS OF PROPORTION
- Natural Material Proportions
- Manufactured Porportions
- Mode of Construction or Structural
Proportions
- Requirements of the Program, Function
or Government Ordinances
- Traditions and Generally A c cepted
Taste
70. Relative Proportion
- deals with the relationship between
the parts of an object and the whole
example ratio between the diameter
of a Classical column and its height
or the relation of the panels of the
door and the whole door.
71. Absolute
- deals with the relationship between
the different parts of an object or the
whole to the various parts
72. ANTHROPOMORPHIC
PROPORTIONS
- seek not abstract or symbolic ratios,
but functional ones
73. Le Corbusier
- Published the “modular” –a
harmonious measure to the human
scale universally applicable to
Architecture and mechanics
74. ANTHROPOMETRJCS
- Human dimensions
75. FURNICUBE
- A Formula discovered by the author as
based from Le Corbusiers Modulor a
height of any person in meters divided
by the no. 7.85 will give the dimension
of the head or H
- Furniture and cube