Theory of Architecture 2

2nd Semester 2021-2022

PART 1- ARCHITECTURAL DESIGN PROCESS AND METHODOLOGIES

ARCHITECTURAL DESIGN PROCESS AND METHODOLOGIES

What is Architectural Design Process?

The Design Process is an approach for breaking down a large project into manageable chunks. This process
helps to define the steps needed to tackle in each project, and to remember all of your ideas and sketches
throughout the process,

Pre-Design Phase / Feasibility Study

Pre-Design Pre-design is an information gathering phase that will be the foundation for the design
phases to follow. The main goal during this phase is to learn everything possible about our clients’ personality,
lifestyle, and needs as well as determine how much space you need now and likely to need in the future, and
how that space should be used, organized, and arranged.
Pre-Design is a general term before the start of designing a building. This will include preliminary
research on the property owner’s part and the architect.

Pre-design will be determining the information needed to begin design. Here are a few factors to consider:
➢ Site Analysis
Survey, Geo technical, financial, etc…
If we are dealing with an existing building: asbestos testing, lead testing, or other hazardous
materials investigation.
➢ Zoning Analysis / Code analysis
Establish what you can build, as for use and size.
Specific Code Issues that may affect the project.
➢ Project Scope
Client must identify to the best of their ability the project scope of work.
➢ Project Goals
➢ Building Program
A Building Program is a list of the proposed uses.
➢ Project Budgeting
➢ Project Schedule
Sometimes this may be too preliminary to establish.
➢ Selection Of Project team

THE SCHEMATIC DESIGN PHASE

In this next phase, the architectural design team begins to translate the client' s wishes into a building
design concept. This may involve sketches, drawings, 3D renderings, and preliminary site plans, floor
plans, and building elevations. Any building systems, such as HVAC and plumbing, also belong in the
schematic designs.

THE DESIGN DEVELOPMENT PHASE

This is the phase where the architect' s design intent manifests as a detailed plan. If the project requires a
structural engineer, that person typically joins the team at this point. The architect also presents the
client with both exterior and interior finishes, which will go atop the foundational structure. Finishes can
greatly affect the total cost of a construction project (as well as the project schedule), so this phase must
be handled with the utmost degree of respect. At this point, a more realistic cost estimate will come into
view.

THE CONSTRUCTION DOCUMENT PHASE

In this next phase of the architectural design process, design becomes a reality. The architect produces
two sets of detailed drawings that specify every detail of their final design. One set is called the
construction set, and it remains on-site throughout the construction process. The other set is called the
 permit set, which the architect sends to the local permitting authority, whether that' s a city or a county.
In a design-build project, the in-house construction contractor becomes involved at this point.

THE BUILDING PERMIT PHASE

At this point, the architect must submit the permit set of drawings as part of a larger permit application.
The city or county reviews the submittals for structural integrity and adherence to zoning laws and
building codes. Permitting can be one of the slowest parts of the construction process, but it protects
architects, builders, and property owners from potentially dangerous construction errors. Simple
construction projects in permissive municipalities can get approval in a matter of days. If you ' re
building something ambitious, or if you ' re building in a historic district, the permitting process can take
months.

THE BIDDING AND NEGOTIATION PHASE

If the building is a design-build project that is designed and built by the same firm, there is no need to
field bids from construction contractors. If no contractor comes pre-attached, the client and the architect
interview contractors and solicit competitive bids. Potential contractors sit down with the client and
architect to go through the construction drawing sets and discuss materials and schedules. Contractors
seek shovel-ready projects to keep their crews busy throughout the year. Therefore, you will have a
better chance of securing a contractor—and a competitive price—if your project is already permitted and
ready to go.

CONSTRUCTION ADMINISTRATION PHASE

In this final phase, the architect' s role shifts from creative design to project management. While they
don ’t physically manage the job site, they make regular site visits to ensure that the project is being
executed according to their plans. The contractor and their crew assume control of the project like a film
director taking over a screenwriter ' s script. Project budgets can balloon on account of cost overruns, but
with careful planning, no changes will be needed.

PART 2- CONCEPTUALIZATION TECHNIQUES OF ARCHITECTURAL DESIGN

Design Approaches
• Functional – form follows function
• Material – evokes emotions attached to the material used
• Contextual – does/not fit its surroundings both physical and non-physical
• Conceptual - The sole focus of the design is about the idea
• Formal – follows the formal language of architecture (classical period)
• Collaborative – various disciplines come together

Design Philosophy- A set of postures or design which we rely upon for making form in building design.
Perception- The way the designer perceives, understands and describes the design problem.

Values- General Philosophy

• Motivation and interest

• Quest of simplification
• Concern for fellowmen
• Enhancement of self-image
• Immediate and deferred goals
• Conservation

CONCEPTUALIZATION TECHNIQUE: IDEATION

IDEATION refers to the mental process itself. To ideate means "to think" and that is of course, how to
train one's self think in new and unique ways.
 COMMON EXAMPLES:
1. Biomimicry- To imitate life or nature (Coined by Otto Schmitt in 1950).
2. Brainstorming- A method design teams use to generate ideas to solve clearly-defined design
problems. They produce vast array of ideas and draw links between them to find potential
solutions.
3. Metaphors- Metaphoric Architecture uses architecture to convey a message by structural
elements. It is characterized by combining ideas and concepts from outside the architecture field
to expand the architectural discipline
4. Issue-based-- This type of design concept revolves around solving problems in the site. Some
examples are green architecture and typhoon-proof structures
5. Architectural theory- refers to underlying theories in architecture

CONCEPTUALIZATION TECHNIQUE: IDEA QUANTITY

IDEA QUANTITY promotes the mind to think freely. Doing this, the mind will generate more ideas to
choose from. This practice will free the mind from worrying about the quality. In most cases, we opt to
think for a single solution. What idea comes first does not guarantee to be the best or feasible solution.
After gathering as many ideas as we can, then evaluation or criticism takes place. We can start to check
the flaws or risks from each idea and choose the idea that is doable or put up together.

3 ESENTIALS TO DEVELOPMENT OF CREATIVE SKILLS

1. IDEATION - refers to the mental process itself.
To ideate means “To think” and that is of course, how to train one’s self think in new and
unique ways.
2. IDEA QUANTITY - means that the person who is capable of producing the largest number of
ideas per unit of time has greatest chance of producing the truly significant one.
3. IMAGINEERING - letting your imagination soar and then engineering it back to reality. Be
careful to proceed in this order.

General Categories of Concerns and Issues in Building Designs

1. Functional zoning
2. Architectural space
3. Circulation and building form
4. Response to Context
5. Building Envelope

SOME GENERAL CATEGORIES UNDER WHICH THE CONCERNS AND ISSUES OF A BUILDING
MAY BE LISTED AND ADDRESSED IN DESIGN ARE:

1. Functional zoning
2. Architectural space
3. Circulation and building form
4. Response to context
5. Building envelope

Functional Zoning. A method used for dividing land use by its function. Typically, land use is divided in two
ways, by its function and by its physical characteristics. An example of functional zoning would be an area that
has designated zones based on a function such as an industrial zone, a recreational zone and a residential zone.
An example of an area zoned by its physical characteristics is defined in terms of characteristics like
development density, minimum lot size, and building coverage, placement and height.

Architectural Space. The notion of architectural space refers to the place whose production is the subject of
architecture. The concept is constantly reviewed by experts in the field because it involves different concepts.
We can say, therefore, that the main function of an architect is the configuration of appropriate architectural
spaces. To do this, the architect uses architectural elements which are parts functional or decorative work.

Circulation and Building Form. Circulation in architecture refers to how the space or buildings is designed to
facilitate the human flow in the building circulation space. The term 'circulation' refers to the movement of
people through, around and between buildings and other parts of the built environment. Within buildings,
circulation spaces are spaces that are predominately used for circulation, such as entrances, foyers and lobbies,
corridors, stairs, landings and so on.
N architecture, a form is a three-dimensional object or building that is perceived by a viewer in space and time,
and made possible by the action of light and shadow. For example, a building may be said to present a complex,
geometric form on the skyline. However, a form cannot be two-dimensional as it will then merely be a shape.

Response to Context. Contextualism, or contextual architecture, is a process in which a structure is designed in

response to its specific urban and natural environment. Rather than being an architectural style, contextualism
can be seen as a set of values that incorporate, not only the immediate but the wider context of a building into
its design. In an architectural sense, context gives meaning to parts of a building by reference to its
surroundings. The context of a building includes physical/natural factors (for example, the curve of an adjacent
river), socio-cultural factors (for example, the site’s previous use) and so on. These factors can be analyzed,
adapted and adopted to integrate the building into its context.

The Building Envelope. Refers to the physical barrier between the exterior and interior environments enclosing
a structure.[1] generally, the building envelope is comprised of a series of components and systems (see figure
1) that protect the interior space from the effects of the environment like precipitation, wind, temperature,
humidity, and ultraviolet radiation. the internal environment is comprised of the occupants, furnishings,
building materials, lighting, machinery, equipment, AND THE HVAC (HEATING, VENTILATION AND AIR
CONDITIONING) SYSTEM

PART 3- MASTERS OF ARCHITECTURE

FILIPINO ARCHITECTS

LEANDRO V. LOCSIN
NATIONAL ARTIST FOR ARCHITECTURE (1990) August 15, 1928 – November 15, 1994
He is known for his use of concrete floating volume and simplistic design. Locsin left his mark on the urban
landscape of the Philippines. He wants to reconfigure western architectural mores for a Filipino Audience
Dubbed as “poet of space”. Architectural Style: Brutalism
 PABLO S. ANTONIO
NATIONAL ARTIST FOR ARCHITECTURE (1976) May 26,
1899 – May 7, 1986
He went on to revolutionize popular architecture in the
Philippines, eschewing the fashionable neo -classical style for
his own version of art deco. Antonio was acutely aware of the
demands made on architecture by the unforgiving Philippine
climate. Architectural Style: Modernism

ILDEFONSO P. SANTOS, JR.

NATIONAL ARTIST FOR ARCHITECTURE (2006)
September 5, 1929 – January 29, 2014
He contributed to modern Filipino landscape architecture.
Landscape architecture was a little - considered element of
urban planning in the first half of the 20th century.
However, Santos changed that, carrying out pioneering
work after four decades in the profession.

IDA CRUZ -DEL ROSARIO

1922
She is recognized as the first female licensed architect of the Philippines. She designed and
constructed multiple projects across the country. Her husband Jose del Rosario was an
engineer, and together they constructed and designed over 120 edifices, hospitals, and
houses from Luzon to Mindanao. Some of her notable works include the early campus of
the University of Baguio and several houses, like the Jacinto house, in the City of Pines.

JUAN NAKPIL
KNOWN AS THE “FATHER OF PHILIPPINE ARCHITECTURE” (AND THE VERY FIRST NATIONAL
ARTIST FOR ARCHITECTURE)
Nakpil was the offspring of two Katipuneros—his father was Julio Nakpil, a composer and general in the
Katipunan, and his mother was Gregoria De Jesus, the widow of Katipunan Supremo Andres Bonifacio. Juan
was a gifted visual artist, and honed his talent with lessons from artistic masters Fabian dela Rosa and Fernando
Amorsolo.

FRANCISCO MAŇOSA
Born in Manila on 12 February 1931 to Maria and Manuel Mañosa. With two of his brothers, Jose and Manuel,
both B.S. Architecture graduates, they founded the architectural firm, Mañosa Brothers in 1954 and later
established his own, Mañosa & Partners. His significant impact and contribution brought him the National
Artist Award for Architecture.

CARLOS SANTOS-VIOLA
He was a devout Catholic throughout his life, and many of his
best known designs were executed for the Iglesia Ni Cristo, a
Filipino religious group. Santos-Viola created churches for
the group all over the archipelago, designed in a style quite
distinct from that of his contemporaries. Instead of the
monumentalism of Leandro Locsin or the art deco simplicity
of Pablo Antonio, Santos-Viola chose to incorporate Gothic
and Baroque elements into his modern churches. The desire for functionality informed almost all of Santos-
Viola’s work, and he was fond of asserting that “the structure must not only look good but must also be made
well.”

DOLLY Q. PEREZ
Softscapes and hardscapes became her medium of choice in design. She is recognized as
the first female landscape architect of the Philippines. Her works include Rizal Park
(Luneta), Libingan ng mga Bayani, Dambana ng Kagitingan in Bataan, and over 200
residential gardens.
 FOREIGN ARCHITECTS

ANTONI GAUDI
o The Catalan Architect Antoni Gaudí found the essence and the meaning of architecture by following the
very patterns of nature and by always respecting its laws.
o Gaudí himself once said: “originality consists of going back to the origins.”
o He didn’t draw his buildings, but made 3D models/sculptures
o Completed ARCHITECTURE in 1878 in Barcelona
o "God's Architect"
o Develop his unique style-- blending elements of gothic art, art nouveau, known as modernism, and
functional structure
o Gaudí died on the 10th of June 1926.

MIES VAN DER ROHE

o “Less is More”
o One of the most significant architects of the 20th century. He also left his mark in furniture designs.
o He was a German designer who started out as apprentice to Bruno Paul (art nouvue architect and
furniture designer)
o Created a body of work—ranging from tubular steel furniture to iconic office buildings
o Simplicity of forms; industrial materials such as industrial steel and plate glass; clean, unadorned
interiors
FRANK LLOYD WRIGHT
Is an American architect, designer, writer, and educator. He designed more than 1,000 structures over a
creative period of 70 years. His Prairie Style became the basis of 20th-century residential design in the United
States.

Concept of organic architecture that balances the interior and the exterior of a structure.
Basic Principles:
▪ Organic colors
▪ simple geometric shapes
▪ integration of the building with natural surroundings
▪ strong horizontal line

FRANK GEHRY

Among the greatest architects of late 20th century architecture, the Canadian-American Pritzker Prize-
winning designer Frank O. Gehry is the leading exponent of Deconstructivism, a postmodernist style of
architecture developed in Europe and the USA during the period 1980- 2000. Frank Gehry is one of these
visionaries who has planned and built awe-inspiring structures since the early 1960s. Known for his bold
architectural features and unusual shapes, Gehry’ s designs transcend the ordinary building and are truly
monumental works of art. All of Gehry ' s designs are united by their sense of movement, he embeds motion
directly into his architecture so that his projects, flow, curve, bend, and crumple in novel and unexpected ways,
subverting traditional building norms.
ZAHA HADID
Zaha Hadid was an architect known for her radical deconstructivist designs. She was the first woman to
be awarded the Pritzker Architecture Prize, in 2004.
Hadid stated that her architectural designs were not intended as a personal stamp on the world, or an act
of self-indulgence. Rather, addressing 21st-century challenges and opportunities is the cornerstone to Zaha
Hadid’ s style and creations.
Architecture, she claimed, "must contribute to society ' s progress and ultimately to our individual and
collective wellbeing."
The buildings born of her vision and the collective genius of her firm Zaha Hadid Architects, may
sometimes seem fantastical, triumphant and even a bit loud, but they all stem from architecture’ s base function
– to facilitate and even perform everyday life.

LE CORBUSIER
Along with Mies van der Rohe and Walter Gropius, Le Corbusier was instrumental in the creation of the
International Style. This was a movement defined by rectilinear forms, open interiors and 'weightless' structures.
Le Corbusier laid out these tenets in his five principles of new architecture, published in 1927. He advocated:
The Pilotis, Free floor plans, Roof gardens, Horizontal windows, Free facades. Much of his work centred on
how good architecture can affect social landscapes too. His ‘Unité d'Habitation’ principles outlined his vision:
large apartment blocks that offered spacious housing, shaded social spaces, roof gardens, shopping streets and
other amenities. These would be houses for the masses not merely to inhabit, but to truly live in.
IEOH MING PEI
As a student of Le Corbusier and modernist architecture, I.M. Pei took the core belief of modernism that
form follows function, and added his own interpretation. His work reflects this philosophy by his incorporation
of functional symbols into all his great works. I.M. Pei also rejects the Internationalist vision of architecture as
future vs. past, and instead sees his role as creating a bridge between the present and the past. These core beliefs
explain how Pei designs a wide variety of structures that are all consistent to his vision.

EERO SAARINEN
He was born from the family of designers. A mother who was a textile designer and an architect father, Eliel
Saarinen, who became his major influence in the field of architecture. Eero Saarinen deeply appreciates the
symbiotic relationship between individuals and their communities and came to believe that the interest of both
must be carefully considered in the design process.
LOUIS KAHN
He was an American architect whose buildings, characterized by powerful, massive forms, made him one of the
most discussed architects to emerge after World War II.

PART 4- FUNCTIONAL CONCEPTS AND THE INTERIOR ENVIRONMENT

Balance- Refers to the ordered distribution of elements of equal visual weight to achieve a visual
equilibrium

Rhythm- The principle of rhythm essentially suggests a connected movement between different
elements of interior design. This movement is essential to maintain the visual tempo between elements
that have different visual weights.

Harmony- Is the concept of thinking about the project in its totality, where the different parts of the
property should complement each other and work together to reinforce the completeness off the whole
project

Emphasis- Is a principle of interior design that says that a central piece of art or furniture must play the
role of a focal point or attention grabber of a particular living space. Elements such as color, pattern, and
texture must be used to emphasize a particular focal point. In fact these elements must be used in such a
way that the focal point dominates the rest of the décor items and pulls the room together. Other items
that surround the focal point must complement the latter and share a contrast that puts the focal point in
the top priority.

Proportion and Scale- These ensure that objects placed in. Be it the size, dimension, shape, or color of
the objects, a harmony should be established between them and a proportion has to be maintained.

Functionalism, in architecture, the doctrine that the form of a building should be determined by practical
considerations such as use, material, and structure, as distinct from the attitude that plan and structure must
conform to a preconceived picture in the designer’s mind.
Concept- When referring to architecture, is an idea, thought, or notion that forms the backbone and foundation
of a design project and drives it forward. It becomes the force and identity behind a project's progress and is
consistently consulted throughout every stage of its development

Five Important Types of Function in Architecture

1. Use and user function. Function can refer to intended uses and activities. In short, this is what
architects call program. It is the human side of function, operating from the inside out. Design process
begins with listening to the needs of each client.

2. Technical function. Structural and mechanical systems are crucial to the function of architecture.
These systems in turn respond to the constraints of the site, program, and available building
technologies. Architects should possess a clear understanding of physical processes that underpin the
building’s own construction and operation.

3. Environmental function. Architectural function can also be considered from the outside as a
response to the environment and context. A building’s enclosure system acts to modulate the effects of
sun, rain, dust, and other elements. A sophisticated building envelope can reduce the amount of energy
needed to maintain a comfortable interior, and lower the owner’s costs for maintenance.

4. Economic function. A functionally optimal building is a sound investment both for large
organizations and individual owners. With our clients’ long-term economic interests in mind, we seek to
source locally available building materials, streamline the construction process, maximize usable floor
space, improve thermal performance, simplify maintenance and cleaning activities, and take other
measures designed to reduce lifetime costs and boost operational efficiency.

5. Symbolic function. Some types of function cannot be quantified or expressed in instrumental terms,
yet they cannot be ignored. This is the case with civic and cultural projects that are meant to embody the
history, values, and identity of a community or a nation. An embassy, for example, represents one state
to another.

TYPES OF CONCEPTS

Social. Getting inspired by the social aspect or connections and links from a foundation of
keywords potentially affects a concept.

Aesthetics. To observe the beauty of a shape that relates to your potential concept, abstract it,
then use the form (which should follow the function) to emphasize the lines. Example:
biomimicry

Psychological. The study of how your potential concept could affect people psychologically
(how it effects the human's behaviour and feelings). i.e.: colors psychology, shapes psychology,
arrangement, etc.

Mixed. Pertains to all types of concepts.

Ergonomics- is the study of how to design working environments, items, and frameworks that are most
comfortable for people. Ergonomics increases communication with the environment and items while also
reducing the risk of disease and harm.
PART 5- VALUE, ASPIRATIONS AND CULTURE

Value that which is desirable or worthy of esteem for its own sake; thing or quality having intrinsic worth.
In the sociological context " acts, customs, institution, etc. regarded in a particular especially favorable way
by a people, ethnic group, etc."

We develop:
1. Moral values
2. Religious Values
3. Social and Cultural values
4. Aesthetics values
5. Practical values

ARCHITECTURAL STYLE – The language through which architecture is expressed or communicated

CULTURE - Customs of a particular nation, people or other social group

Four Basic Values

Integrity synonymous to honesty. It is "the quality or state of being complete or un-divided." A
person with integrity is one whose actions conform to his principles and beliefs. He is not
divided by internal disharmony on conflict. Honesty, which is fairness or straight towardness of
conduct is a form of integrity.
Discipline- As a value, discipline touches many aspects of everyday life, and is closely related to
other desirable values. For example, the values of COURTESY and FAIRNESS are involved
when we are called upon to practice discipline in situations when we have to line up in public.
 Hardwork- It is a fact that many Filipinos are hardworking. They are willing to labor diligently
and consistently to earn a living and to improve their lot in life. However, the traditional
"WORK ETHIC" suffers from lapses as a value in our culture.
Justice- Synonyms are "fairness, objectivity, impartiality; is a value which is universally upheld.
Nobody wants to be called unjust.

FOLK BELIEFS IN CONSTRUCTION

1. Don't start the construction of a house at a period when the moon is waning, or entering its last quarter.
Pick a time on or about a full moon.
2. Start a construction on a Monday; never on a Friday.
3. Avoid starting construction when the year is about to end. A better time is when the year has just begun,
January to June.
4. Never have a house built when your wife is pregnant, and is expected to give birth at that very month.
5. Before giving the order to lay the foundation or put up the posts of your house. make peace with all your
enemies - especially those belonging to your own family or clan.
6. In the North, they usually practice the flowing of blood from some animals or chicken and all foundations
or corners of the walt are splattered with this blood in honor of the spirits that might be living within the
premises. Also a few drops of wine is offered with some prayer dedication before any wine is partaken.
7. Before cement is poured into the foundation, one peso coins should be dropped inside the forms to bring
good luck. Other place silver medals of any patron saints, for protection. Some also place coins at the stair
foundation.
8. When any vertical part of the house is being erected, like the first post, or the first row of hollow blocks
or cement wall, the father or the eldest member of the family should be present to witness. Two contributes
to the solidity of the house.
9. Do not build a house directly perpendicular to the street. If space still allows it, locate the house such that
it lies in position which is at angle with the street. This way, the inhabitants keep out of the way of disaster.
10. No part of your house should-cover or overhang an anthill ("PUNSO" in Tagalog.) They say that the small
spirit man or "NUNO" will get angry.
11. No part of the house should cover or overhang a site of a recently-cut tree; neither should the new house
overlap any portion of the old house.
12. Never use materials that once belonged to a church.
13. As much as possible, avoid using materials that came from the owner's old house. The bad luck of the old
house will be transferred to the new house. the old people say.
14. All nails and screws that become bent in the process of building a house should be kept in a box and not
left lying around. Leaving them scattered will bring misfortune to these involved in the construction.
15. The number of main posts should always be even; not odd, never 13 pieces.
16. Flooring planks-whether of wood or of bamboo-must be laid parallel to the steps of any stairway to make
it 90 degrees to the stair will make the good luck go down the stairs.
17. The longer length of the roof must lie parallel to the road instead of perpendicular to it.
18. The number of steps in every flight of stairs must fall to the count of either oro (gold) or plata (silver)
never mata (death) since if the last counting is mata, bad luck or poverty is to be expected.
19. The principal stairs, the master's bed should face the East, so that the rising sun may shine on them.
20. To the Muslims, the principal room and stair- way should face the direction of Mecca.
21. Door ways should not face each other along a straight path, or a door to the window. They should lie on a
staggered path. Good fortune flows quickly out of the house if arranged in a straight path.
22. Main doorways should not face the west or where the sun sets, it brings bad luck.
23. Umbilical cord of a child is inserted in the staircase so that the stringer would strongly connect itself to
the girder.
24. House plan shaped like a cross should be avoided for this brings bad luck.
25. A basement placed in flat level land indicates graves. This is a sign of early death in the family.
26. To avoid wealth or money from flowing out of the household, main doors should not face the exit doors.
Aspirations are a hope or ambition deeper and more broadly purposeful than a goal or resolution. Typically,
aspirations are value-driven and encompass how we plan for and ultimately envision experiences for our lives.

Sustainability. We can all agree that when we think of futuristic architecture, the word sustainable is the
one to lead them all: utopic images of towering buildings of green facades with extremely complex
processes and technology to assure a smaller carbon footprint.

Verticality. From the construction of the first skyscraper around 1886, the incessant search to touch the
sky became an icon of contemporaneity. According to theory, the vertical development of the city would
help solve the problem of overpopulation and density, as well as endowing the urban display with
disruptive, yet welcomed morphological innovations.

Restoration. When we talk about sustainability, we tend to forget about restoration. And the thing is,
restoration is a sustainable act per se, and its role in the shaping of a city is crucial. Architecture should
be conceived as heritage and ambition working in synergy to ‘explain’ the story of a place marked by a
culture.

Social Housing Housing. Social Housing Housing has been one of the most discussed topics in
contemporary architecture ever since the industrial revolution. From LeCorbusier to Alvar Aalto, every
architect has tried in their own ways to solve the seemingly unsolvable problem of overpopulation and
density by the construction of social housing.

AESTHETIC DESIGN VALUES. Aesthetics is a branch of philosophy concerning studies on the nature and
expression of beauty or taste. The aesthetics of a building is one of the principal aspects considered in
architecture. The appeal of a building covers the combined effects of a building’s shape, size, texture, color,
balance, unity, movement, emphasis, contrast, symmetry, proportion, space, alignment, pattern, decoration,
culture and context. The unique properties and natural beauty of wood and other bio-based materials make them
desired for various applications including construction, facades and interior design. A building should be
designed in order to satisfy requirements regarding safety, serviceability, durability, but also, aesthetics,
assuring proper structural performance through the entire service life. For that reason, it is essential to
understand the overall deterioration mechanisms within the different levels of a building including elements,
components, façades and for the entire building. Changes in the appearance of materials can differ due to
kinetics of the responses related to the material resistance as well as due to intensity of the degrading factors

SOCIAL DESIGN VALUES. Many architects and industrial designers are motivated by a strong desire to
serve the public good and the demands of the user population. Furthermore, social awareness and social values
in architecture and design reflect, to some extent, the importance placed on these values in society at large.
Social values can have an aesthetic impact however these features will not be discussed because the main
aesthetic impact found in design has already been discussed in the preceding sections. At times, social design
values clash with other design principles. This form of conflict can occur between design movements, but it can
also occur within a single design movement. Conflicts between societal ideals and other design values, it may
be said, typically depict the ongoing struggle between Rationalism and Romanticism in architecture and
industrial design.
ENVIRONMENTAL DESIGN VALUES. Environmental design can serve a variety of purposes, including
creating visual wayfinding solutions, enhancing a feeling of community and identity, and communicating other
critical information.
TRADITIONAL DESIGN VALUES. There is a long tradition in both architecture and industrial design of
being inspired by and reusing design features from existing buildings and products. Even if many architects and
industrial designers believe that their creativity is mostly used to generate fresh and creative design solutions,
this is the case. Some architects and industrial designers have publicly admitted to being influenced by existing
architectural and product traditions, and have even used this inspiration as the primary source of inspiration for
their design ideas.
ECONOMIC DESIGN VALUES. This is the foundation for a design value known as 'voluntarism' or
'charrette ethos.' This is a value that many practicing architects and designers hold. The value of 'volunteer' is
based on the concept that good architecture and design necessitates dedication beyond the predetermined time,
accountant's budget, and typical working hours. Elements of the following claim are implicit in the 'volunteer'
value: 1. Best design works comes from offices or individual designers which are willing to put in overtime
(sometimes unpaid) for the sake of the design outcome. 2. Good architecture and design is rarely possible
within fees offered by clients. 3. Architects and designers should care enough about buildings or products to
uphold high design standards regardless of the payment offered.

VERNACULAR ARCHITECTURE AND INDIGENOUS TECHNOLOGY

Vernacular architecture is an architectural style that is designed based on local needs, availability of
construction materials and reflecting local traditions. At least originally, Vernacular architecture did not
use formally schooled architects, but relied on the design skills and tradition of local builders. However,
since the late 19th century many professional architects have worked in versions of this style.
FOLK ARCHITECTURE. The architecture of a folk is evolved and modified by ideas and imitation.
Folk architecture is capable of diversity and differentiation. In folk architecture significance is given to
the individual as a member of the community- the folk.
VERNACULAR ARCHITECTURE. Vernacular architecture uses the design skills and tradition of local
builders. A Generalized way of design derived from Folk Architecture.

SPIRITUAL ARCHITECTURE. Spiritual Architecture is designed towards spiritual or notional clients,

human being agents for them. Spiritual architecture is concerned with the aspirations of individuals and
groups.
MONUMENTAL ARCHITECTURE. Monumental architecture is honorific in its significance and is
extended from person to institutions, to governments, corporations and banks.
UTILITARIAN ARCHITECTURE. Dedicated to utility, and the expression of function becomes
architectural homage to a non- spiritual objective.