Escolar Documentos
Profissional Documentos
Cultura Documentos
Theory of Architecture
TOA 1 & 2
MODULE COMPILATION
Prepared By:
BSAR 5D
AGBAYANI, Michael Angelo B.
CRISOSTOMO, John Paul Richard C.
ROQUE, Paul Justine
VILLAVERDE, Kev Nestie G.
MODULE 01
Introduction to Theory of Architecture
A. Terminology
Architecture
ARCHI - “first or original”
TEKNOS - “the ability to put things together”
Practice of architecture:
Theory
• The word theory comes from the Latin theoria; Greek theoros (spectator) and means as
the mental scheme of doing something or method of doing.
• Theories are general statements dealing with what architecture is, what architecture should
accomplish and how to design it.1
• Theory, an assumption or system of assumptions, accepted principles, and rules of
procedure based on limited information or knowledge, devised to analyze, predict,
or otherwise explain the nature or behavior of a specified set of phenomena; abstract
reasoning.2
• Also serves as guiding principles. Principles serve as the basis for doing something.
B. ESSENTIALS IN ARCHITECTURE
Vitruvius3 wrote encyclopedically about architecture, and the English poet Sir Henry Wotton
was quoting him in his charmingly phrased dictum: “Well building hath three conditions:
Commoditie, Firmenes, and Delight.”
Firmitas – strength – sound construction
Utilitas – commodity - utility
Venustas – beauty – aesthetics
QUALITIES OF ARCHITECTURE
Logical function -
▪ The building should meet satisfactorily the requirements of the use for which it is
intended, its elements must be arranged so as to secure an efficient and workable
relationship between them. Related areas are adjacent to each other and there is ease of
circulation between different units.
It is only when these qualities are present that good ARCHITECTURE can be said to exist
MODULE 02
Influences in Architecture
To understand the development of architecture, the factors that contributed to how it evolved must first be taken
into consideration.
A nomad in his primitive days, man set out on foot looking for food and anything which make him survive. Set out
to gain protection from the natural elements of his surroundings as well as from animal enemies.
The following takes into consideration the needs and activities of man as well as the conditions of nature which had
and continues to influence the development of architecture.
GENERAL INFLUENCES
A. Needs of Man
- people are manipulated through their needs. Man is concerned in varying degrees with
three types of interests
1. Physical Needs
Continuance of life requires the provision of sustenance for every individual in order to exist and
reproduce.
a. Self-preservation
For man to survive and be able to do his activities, he must provide himself with the
following:
Basic Needs:
Food
Shelter
Clothing
Shelter is something that covers, protects, or defends as a roof that shields one from the
elements and changes.
Shelter is a fundamental need of man, and the most basic form of shelter is the
dwelling house, which is the center of man’s activities, from the rude huts of the
primitive man to the amenities-filled dwellings of the civilized man, as a result of
man’s effort to satisfy not only his need for shelter but also his desire for comforts and
conveniences. Primitive man and civilized man are moved by the same physical forces
and it is only in the interpretation of essentials and non-essentials that they differ.
Utilities:
• Power
• Water
• Transportation
• Communication
a. Aesthetics – to answer the desire to make something which is not strictly utilitarian; decorating or
ornamentation
b. Religion – architecture became a medium of expression of man’s spiritual existence
c. Recreation – art of architecture became possible when man found the opportunity for thought and
relaxation
3. Intellectual Needs
a. Education
b. Science
c. Government
B. Activities of Man
There are several impulses or desires which must be satisfied if life is to exist and civilization is to develop.
These forces of stimuli to action and their corresponding effect upon life and architecture are as follows:
- This is the most fundamental and causes man to provide shelter and comfort and to
pass hunger and thirst. It also encourages the acquisition of security which may be
religious, governmental or economic. In obtaining these physical needs and
security, civilized man must have commerce, government, and religion, which
activities call for their accompanying structures or architecture
- This is the desire for prestige. Pride and ambition, personal or civic, result in the struggle for position – for social
status, physical supremacy, and intellectual attainment. For this reason, individuals may build palaces, skyscrapers, or
communities may erect cathedrals or public buildings or monuments. This may also recognize man’s ingenuity or
stupidity.
Self - expression
the urge to do things in a particular way
responsible for artistic expression
B. Influences of Nature
1. Climate has been an important factor in determining not only the physiognomies but also the habits and
temperaments of the different races.
1. warm climate – colorful
2. cool – severe, subdued, dull
2. Topography
- site condition may lead to formal, usually in plain or flat area, or informal planning, in terrain site.
- Topographical barriers retarded the intermingling of cultures in the past such that the art and architecture of
different countries assumed definite national patterns.
Ex. Small countries have architectural traits common to the entire area while large
countries with varying topography produced different architecture in different regions.
3. Construction Materials
C. Influences of Man
1. Social Conditions
- aspects of society which may be reflected through architecture.
- The work of architecture reflects the social structure of the period it was developed. The interests of the people
dictate the type and appearance of its buildings.
2. Economic Conditions
- economic conditions affect the standard of living which in turn influences the types of
buildings constructed and the materials used.
- The nature of trade , commerce and industry, and agriculture determine to a large extent the occupation and
standards of living within a particular country. These factors influence the type of buildings erected materials
used. As nations modify their basic economic institutions through changes in manufacture, transportation, and
communication, new modes of living come into existence, and new architecture must be developed to
conform to these customs.
3. Technological Development
The course of modern architecture has been greatly influenced by the rapid development of modern technology:
a. Development of new building materials and innovation of previously existing materials (steel, glass,
aluminum, plastic, etc.) have resulted in new methods of construction;
c. Development of heating, ventilating and air-conditioning equipment made thick walls variable
according to how thin/thick the material will allow. It has also made contemporary buildings
comfortable to live in year round.
d. Better methods of plumbing and sanitation have made contemporary buildings healthier to live in.
MODULE 03
The Principles of Design
Man began to create shelter by surrounding space with the materials provided by nature and made usable by the
ingenuity of man. Space, in itself, is indefinite and intangible and has no limits. But when it is enclosed by walls and a
roof, a useful volume is created. A structure, therefore, may be said to be composed of two essentials: the apparent
volume which is more readily seen and understood by the observer and hence called the VISIBLE STRUCTURE, and
the plan or horizontal disposition of the units which is called the INVISIBLE STRUCTURE.
ELEMENTS OF DESIGN:
1. LINES
2. SHAPES
3. FORMS
4. COLOR
5. TEXTURE
1. LINES
LINES are representation or abstraction of the boundaries or edges found in nature. Actually, there is no such
thing as line but artists. Four architects said so to represent a certain creation. The major dimension of line is
length and the probable dimension is width which is only
CATEGORIES OF LINE
DIRECTION OF LINE
PRIMARY SHAPE
1. CIRCLE – a centralized, introverted figure that is normally stable and self-centering in its environment.
Placing a circle in the center of a field will reinforce its natural centrality. Placing an element along its
circumference, can induce in it an apparent rotary motion.
2. TRIANGLE – signifies stability when resting on one of its sides. The triangle is an extremely stable figure.
When tipped to stand on one of its vertices, however, it can either be balanced in a precarious state of
equilibrium or be unstable and tend to fall over onto one of its sides.
3. SQUARE – represents the pure and the rational. It is static and neutral figure having no preferred direction.
All other rectangles can be considered variations of the square, deviation from the norms by the addition of
height or width. It is stable when resting on one of its sides, and dynamic when standing on one of its corners.
3. FORM
1. SHAPE – results from the specific configuration of form’s surface and edges.
2. SIZE – the real dimension of form, its length, width, and depth; while these dimensions determine the
proportions of a form. Its scale is determined by its size relative to other form in its context.
3. COLOR – the hue, the intensity, and the total value of a form’s surface; color is the attribute that most clearly
distinguishes a form from its environment. It also affects the visual weight of a form.
4. TEXTURE – the surface characteristic of a form; texture affects both tactile and light reflective qualities of a
form’s surfaces.
5. POSITION – a form’s location relative to its environment or visual field - front, right, left, back
left side of the heart center right side of the heart
6. ORIENTATION – a form’s position relative to the ground plane, the compass points or to the person
viewing the form.
SOUTH
7. VISUAL INERTIA – the degree of concentration and stability of a form, the visual inertia of a form
depends on its geometry as well as its orientation relative to the ground plane and our line of sight
of all the design elements, color is perhaps the most appealing called the music of the visual arts when used, it
elicits an emotional response although not necessary for the creation of a great work of art, it suggests mood and
depth of experience beyond those possible with the other design elements
combinations can manipulate emotions most powerful tool of a designer sensation when
our optic nerves react to the given ray of light.
COLOR HARMONIES
a. MONOCHROMATIC – single color in varying subdued color produces very pleasant subdued color
- one hue with varied values, tints, shades and tones, full range of intensities with modulation through slight
additions of its analogous neighbors
b. ANALOGOUS – relate to color wheel (three colors side by side with one dominant color) use of several hues
with several variation of color which could be found adjacent to each other on the color wheel.
c.ACCENTED NEUTRAL – accent and dominant color. Technically, a neutral is defined as a color that has no
color quality but that simply reflects light. White is the ultimate neutral since color reflects all the color waves in
light. Black reflects none so it also has no color quality. A mixture of black and white will produce modified
neutrals or achromatic neutrals
The mixture of any two complements which when combined in equal parts also produce gray. CHROMATIC
NEUTRALS bordering in gray and beige
b. TRIAD – made by using 3 colors that are equidistant from each other in the color wheel.
Various colors have a strongly emotional effect on people. It reflects the spirit of the people who create it. Color is
definitely related to the lives of the individuals and the material things with which they are associated. Spanish art
which is gay and sparkling for example are produces by a dashing, vibrant people.
RED – tends to produce rage or passion; it is exciting and stimulates the brain. It has an aggressive quality and is
frequently associated with violence and excitement.
YELLOW – denotes gaiety, stimulating cheering – to the lazy, upsetting to the nervous. It is the most luminous
color. It demands attention and so it is used in dangerous locations, such as edge of a subway, platform to
mark the hazard, while red is used to be the color of firetrucks, yellow is now preferred.
ORANGE – has a stimulating effect and should usually be used in relatively small amount. The occupants of an
orange office, for instance will become ill at after a short time and will leave at every opportunity.
BROWN – is restful and warming but should be combined with orange, yellow or gold because it could be depressing
if used alone.
GRAY – suggests cold and is also depressing unless combined with at least one livelier color.
PURPLE – is sedative and soothing. It suggests a stately or melancholy atmosphere. Cheerfulness and cowardice,
cheapness.
BLUE – is peaceful and tranquil. It reduces excitability and therefore helps one to concentrate.
5. TEXTURE
All materials have a texture. Surface characteristics can be felt or that affect the way a thing looks when light hits it.
Things have a unique texture that contributes something to their identity.
COMBINATION OF TEXTURES
There are no rigid rules or laws concerning the combination of correct textures. One needs to develop sensitivity to
those textures which seem to have a natural affinity for each other. Texture should have something in
common or be a pleasant contrast. They may have air of informality or express formality.
In each instance the texture must show the same character. Texture should be selected for harmony of idea or for the
use that is to be made of them rather than for their similarity or contrast.
The effects of colors are radically changed by difference in texture and pattern, so that a nearly or totally
monochromatic room can be as lively and memorable through its subtleties of texture as a room with vividly
contrasting colors. The thicker or stronger the texture, the softer and more diminished the color seems. Flat,
smooth, glossy surfaces project a much brighter image the soft ones. A painted surface in a particular color
will be very much sharper than the same color in carpet or felt or velvet.
Gaining the knowledge of what contrasting textures go best together is really a matter of experience. It helps to make
lists of all kinds of different surfaces and materials and to conjure them up in your mind’s eye, appropriately
distributing them around walls, floors, ceilings, windows, and furniture
MODULE 04 4.fan
Elements of Architecture
5.pendant
C. Arrangement of units according to plan composition 3. Emphasis- This is to have one unit of the plan give
emphasis to one particular phase of the activity which is
D. Vertical Growth to be carried on within.
1. Creation of Volume and space relationships SECONDARY PRINCIPLES
2. Development of mass and its composition 1.Repitition -Ex. When a number of rooms of equal
3. Selection of type of construction size and shape occur side by side, or when windows,
columns, arches are spaced in a regular manner to give
E. Conditioning Process an unaccented rhythm.
a. Space organized for convenience 2. Alternation- Altering sizes, shapes and elements.
This gives contrast.
Selection of materials
Introduction of circulatory elements: doors, windows,
stairs, corridors 3. Transition– Ex. Small vestibules protect and act as
buffers for the lobbies which follow and the lobbies in
b. Space organized for comfort
turn, allows the visitors to become adjusted to the
Introduction of mechanical equipment for light, heat, situation which confronts him upon entering the
and sanitation building. These minor elements give the observer some
preparatory indication of the general character and use
c. Space organized for appearance of the interior before introducing him to the more
Interior and exterior surface, and volumes conditioned important units. In the complex plan, it is often
according to principles of composition desirable not to tell the whole story at once, but to allow
the beauty and interest of the interior gradually to unfold
itself, reserving for the climax some predetermined
accent.
MODULE 06
MODULE 07
Principles of Plan Composition
Principles of Composition in Volume
PRINCIPLES OF PLAN COMPOSITION
1. Contrast – association of unlike qualities transition
A good plan should be ORGANIC, that is it should be is one important rule in using principle of contrast
arranged that the composition will be disturbed if one
element is moved. It should have a PARTI or scheme 2. Proportion – harmonious relation of one part to
behind its composition. another with respect to magnitude and quantity, refers
to size of human beings.
PRIMARY COMPOSITION
3. Scale – deals with the relation of architectural motifs
1. Contrast – is used to give emphasis or interest by such as windows, doors, mouldings, to each other and
producing: to the human figure.
a. difference in sizes of areas 4. Balance – means equality, satisfying to the eye with
b. variation in shape reference to the relative importance of the various parts
of the design.
c. contrast in character, e.g. , contrast between open
and closed spaces d. contrast in direction. 5. Rhythm – organized movement of line which carries
the eye from one element to another Organized spacing
2. Balance Repetition Alternation
a. Symmetrical balance about a central axis. This type 6. Unity – relating to all unrelated parts of an
of balance gives a feeling of repose and order architectural arrangement in order to obtain a
satisfactory composition. Unity is lost when there’s
b. Unsymmetrical balance This results from an competition among motifs and there’s duality or
informal arrangement. presence of two strong conflicting elements.
7. Character – expressiveness.
1. At the exterior, the height of an edifice should be in similar but each object is exactly the one occupying the
proportion to the character that the edifice demands; corresponding position on the opposite side
2. churches and temples usually have traditional 2. Formal Balance. This is a type of symmetrical
proportions balance, but one which lacks some of the essentials of
this kind of composition. The general mass and
3. Classical buildings usually have proportions based
grouping of parts may be similar but there are
upon traditional proportions based on traditional rules.
dissimilarities in plan, elevation and details.
TRADITIONS AND GENERALLY ACCEPTED
B. Unsymmetrical Balance
TASTE:
This is occult balance, obtained by the grouping, in an
1. At the exterior, the height of an edifice should be in
informal manner, of elements of varying sizes and
proportion to the character that the edifice demands;
shapes. In an informal arrangement, the larger and
heavier masses should be nearer the center of the
grouping, while the lighter and lower and more
2. Buildings of worship such as churches and temples horizontal elements may constitute the long arm as in a
usually have traditional proportions; steelyard.
3. Classical buildings usually have proportions based RHYTHM
upon traditional proportions based upon traditional
rules. is organized movement. In architecture, it is the
organized movement of line which carries the eye from
DISTINCTIONS BETWEEN RELATIVE AND one element to another.
ABSOLUTE PROPORTION:
Rhythm must be directed and controlled for without
1. Relative Proportion – deals with the relationship organization there is not rhythm.
between the parts of the object and the whole. For
example, the ratio between the diameter of a classical UNITY
column and its height or the relation of the panels of the
is the culmination of all the elements of design. It
door and the whole door.
suggests harmony. It seems that all the unrelated parts
2. Absolute – deals with the relationship between the of an architectural arrangement are brought into proper
different parts of an object or the whole to the various relation to each other so that a satisfactory composition
parts. is obtained. Unity may be easily seen in the simple
geometric forms, such as the circle, square and triangle.
SCALE They are elementary in their shapes and no portion of
SCALE has reference to proportions which are based on the whole tends to detach itself and to create new form.
the human figure and deals with the relation of elements The simplest kind of unity is similarity of motifs or
to each other and the human figure. members.
Architecture must be adapted to human needs CHARACTER
BALANCE is the external manifestation or expression of internal
is equality. Proper balance in composition satisfied the qualities. It grows out of the function of the building
eye with reference to the relative importance of the and the consideration of all the creative principles of
various parts of the design. composition.
particular disposition of parts, and this arrangement FUNCTIONAL VISUALIZATION‐ thinking about
affects the appearance of the exterior by which we what function the object will perform instead of
largely judge its character. The appearance of a thinking how it will look like.
structure is, therefore, an outgrowth of the plan which,
MORPHOLOGICAL SYNTHESIS‐ making a list in a
in turn, is determined by the use of the building.
more direct manner to seek alternatives.
B. Association, or the influence of traditional types.
INVERSION‐ instead of thinking of how to improve
Associated character comes from the influence of ideas
the situation, think of how to make it worse so that you
and impressions related to or growing out of past
are given a new set of perspective or concepts.
experiences. Thus a spire atop a building with stained
glass windows tells us that the edifice is a church. BIONICS‐ “back‐to‐nature” solutions.
Certain traditional forms have long been associated with
specific types of buildings. The use of Classical Orders DESCRIPTION BY ASSOCIATION‐ offering a
have often indicated the presence of a bank, while description of the object by associating it with
Gothic, at least in the U.S. has always been associated something else.
with educational institutions. BRAINSTORMING – a group process in which
C. Personality, or emotional appeal. Personal several people, for a given amount of time, gathers
character in architecture bears a certain relation to the together and discusses a particular problem, and
same attribute in an individual. Buildings have qualities everyone contributes positive thoughts to the
which are directly related to their functions, but in discussion.
addition, they may posses characteristics which have to CRITICISM
do rather with emotional reaction set up in the mind of
the observer. Like individuals, buildings may be stem -Design may be criticized by others who want to apply
and forbidding, light or playful, sedate and dignified, further objectives or prioritize other aspects of the
etc. It is necessary that this intangible quality of problem. During this stage, the problem may change
personal character should agree with the function of the and the information and objectives may increase.
building.
OPERATIONAL PROCESS
CONCEPTUAL DESIGN – sketches which make up a
THEORY OF ARCHITECTURE 2 statement to intent for the guidance of structural
and service engineering consultants and for
MODULE 01 information of suppliers and manufacturers who will
Stages in Designing be involved in the work.
• Transverse major axis – cuts through the shorter • One of the two forms can receive the other
direction totally within its volume
• Longitudinal major axis – cuts through the • The two forms can retain their individual
longer direction identities and share the interlocking portion
of their volumes
PRINCIPAL MINOR AXIS – extends at right angle
from the major axis; parallel to the main elevation THE ARTICULATION OF FORMS
PRINCIPLES Articulation refers to the manner by which the surfaces
of a form come together to define its shape and volume.
ORGANIC PLANS – all parts must fit together in such
a way that the composition will be disturbed if one Ways by which forms and Its Surface Planes May Be
element is moved. Articulated
EMPHASIS – created by contrast in size, shape, 1. Edges
character, etc. 2. Corners
3. Surfaces
• Emphasized activity = emphasized area in the
plan (ex. Elements imparting rhythm and point How Corners Define the Meeting of Two Planes
to a monument in the center)
1. By introducing another element
SECONDARY PRINCIPLES 2. By introducing an opening
3. By cutting the planes that define the corner
1. REPETITION 4. By rounding off the corners
– when a number of room, window, arches, etc. of equal MODULE 04
size and shape occur side by side to create unaccented
rhythm Architectural Theories and Theorists
Building are like machines. They should express only Before Written Construction Theory
what they are and what they do. ‐ Architecture created without the help of architects or
Ex. “A house is a machine for living” –Le Corbusier theory
Building should respond to the immediate need, using -From Alberti onwards, architects began specializing
materials readily available without making reference to 5. PERSONAL STYLE
an ideal.
Copying from Antiquity
8. PATTERN LANGUAGE ANALOGY
• ART NOUVEAU
Human activities are often characterized as theatre
‐ The first architectural style independent of the
characterized as theatre and so the built environment
tradition of antiquity after the Gothic style
may be seen as a stage in which people play roles and
buildings become settings and props. -The example set by Art Nouveau encourage
9. DRAMATURGICAL ANALOGY some of the most skillful architects of the 20th
century to create their private form language
THEORIES ABOUT WHAT ARCHITECTURE
SHOULD DO 6. THEORETICAL TREATISES
Theories about what architecture should accomplish are ‐ Five points of Architecture (1926, Le Corbusier)
concerned with identifying the goals that the designer
a. pilotis
and buildings should satisfy.
‐ place where first tallest building was constructed ‐ “Art and Technology, the new unity”
Tadao Ando- I believe that the way people live can be STEREOACUITY
directed a little by architecture. -is the cumulative result of all dimensional depth cues.
Philip Johnson- All architects want to live beyond their SPATIAL PERCEPTION
death.
All spatial implications are mentally conditioned by the
Michael Graves- I don’t believe in morality in environment, experienced through the eyes and
architecture. interpreted with the mind.
MODULE 5 The Perception of Objects
Architectural Perception Objects can be identified not just visually but also
PERCEPTION through the senses of sound, touch, etc.
The observer’s perception is influenced by the illusion 2. Relatedness of departments, goals and systems –
the parts create in the whole pattern. grouping of spaces with similar goals, related
departments and interconnected systems
Visual Depth
3. Sequence in time – based on the sequence of
Despite the fact that the observer “sees” and “knows” in activities
reality and feels with his feet that the floor is composed
of plain mosaic stones, it is impossible to avoid the 4. Required environments – planning as dictated by
perception of depth. the following: a. Furniture types
– in an array of objects of different sizes, the smaller g. Need for visual and sound privacy
ones are perceived to be farther away.
h. Need for acoustic control
3. Height in place
i. Need for noise control
– as we look along a flat plane, objects farther away
j. Relative maintenance
appear to be higher. The impression of depth can be
created by placing objects of the same size at different k. Plumbing involvement
heights.
l. Relative visual access
4. Texture
5. Types of effects produced
For irregular surface such as rock or the wavy surface
of the ocean, there is a gradient of texture that varies a. Relative weight
with the distance. b. Noise produced
MODULE 06 c. Vibration
Architectural Concerns d. Wet and dry areas
CATEGORIES OF CONCERN THE DESIGNER e. Trash
MAY USE AS A CHECKLIST
f. Relative visual clutter
A. FUNCTIONAL GROUPING AND ZONING
g. Odor produced
h. Radiation produced
4. SPACES LINKED BY A COMMON SPACE – - Sunken areas reduce the scale of the room and define
consist of two spaces that are separated by distance a more intimate space within it.
and a third intermediate space that interlocks them and
- Sunken areas may also serve as transitional space for
defines their relationship
the buildings around it.
FIVE WAYS TO ARRANGE AND ORGANIZE
4. Changing the formal and surface qualities of the
SPACE
ceiling
1. CENTRALIZED – consists of a central dominant
- The ceiling can be lowered or elevated to alter the
space around which a number of secondary spaces are
scale of a space, define a path of movement. The
grouped
form, color, texture and pattern of the ceiling may be
2. LINEAR – consists of a linear sequence of manipulated to give it a directional quality or
repetitive spaces that are generally alike in size, form orientation.
and function
5. Placing a vertical linear element establishes a
3. RADIAL ‐ consists of a central space from which point in the ground plane and creates imaginary
linear organizations extend in a radial manner paths that lead the viewer to it.
4. CLUSTERED – consists of repetitive cellular 6. Articulating the base plane and establishing the
spaces grouped by proximity or by the sharing of a upper limits to emphasize the overhead plane.
common trait or relationship
7. A row of column (colonnade) that defines the
5. GRID – consists of spaces whose positions in edges of the volume while permitting visual and
space and relationships with one another are regulated spatial continuity.
by a three‐ dimensional grid pattern or field
8. A vertical plane will articulate the space that it
SPACE ARTICULATION fronts. If it has two fronts or “faces”, the plane
establishes the edges of the two separate volumes of
Space articulation is often used in architecture to
space.
define a zone of space within a larger spatial context. It
may be achieved through: - A vertical plane that is two feet high can define the
edge of a field but provides little or no sense of
1. Elevating a portion of the base plane
enclosure.
- With a different surface, it will create a new field of
- At waist‐level, it begins to give a sense of enclosure
space, define its boundary and interrupts the flow of
while allowing visual access.
space. With the same surface, the elevated plane will
appear to be very much the same as the surrounding - At eye‐level, it begins to separate one space from
space. another
- Within a building, an elevated space can provide a C. GEOMETRY
retreat from the activity around it or an area from
THE APPEARANCE OF THE STRUCTURE
which the surrounding spaces may be viewed.
It is necessary that a building be organized for
2. A change in form, color or texture of the edges
appearance. The plan and the resultant masses,
of the space
volume, surfaces and details should be developed
3. Depressing the portion to be articulated according to the rules of composition and the
principles of design. These principles may be applied
- Articulation may be reinforced visually by changing
to:
the formal and surface quality of the area.
1. line generated circulation
- The ground plane may be depressed to define
sheltered areas or to make more extensive use of the 2. forms and images
areas on the “normal” level.
3. space‐circulation relationships
4. Natural Heating and Daylighting - if the sun's E. BUILDING ENCLOSURE and BUILDING
energy is to be used directly for heating in the cold ENVELOPE
season, it can also contribute to the illumination of BASIC COMPONENTS OF THE ENVELOPE
the heated space.
The basic components of the envelope are windows,
5. Windowless Buildings - department store are walls and roofs. Each component may be classified
often best designed this way. according to its function in the exchange of energies:
1. Filter – a means to make the connection indirect
(screens, walls); selects outside conditions that will be
allowed into the building; sometimes may be in the Windows and skylights provide view and establish a
position of a switch visual relationship between the room and its
surroundings. The size and location of the openings
2. Connector – a means to establish direct
determines the characteristic of the view seen through
connection (doorways, openings); characteristic of
them
architecture in mild climates
4. Openings within planes
3. Switch – regulating connector (operable doors and
windows) An opening wholly within a wall or ceiling plane will
appear as a bright figure on a contrasting plane. An
4. Barrier – separating element (roof, wall);
opening on the center will appear stable and will
completely severs the relationship between the indoor
visually organize thespace around it
and the outdoor; characteristic of architecture in harsh
climates F. SYSTEMS
TWO DIFFERENT CONCEPTS OF ENVELOPE - PLUMBING AND SANITARY
DESIGN
- MECHANICAL
1. The Closed Shell – establishes limited contacts
- ELECTRICAL
with the outdoors; usually found in harsh climates
(pueblo architecture, desert structures) - LIGHTING
2. The Open Frame – begins as a structural frame, - ACOUSTICS
with the building skin selectively added to modify only
a few outside forces; usually found in hot, humid G. ECONOMICS
climate THE COST OF THE BUILDING STRUCTURE
1. Structural cost – cost related to structural strength
PROPERTIES OF ENCLOSURE and physical integrity (25%)