AR111 Theory of Architecture 01 PDF

AR111-THEORY OF ARCHITECTURE 01 MODULE 01: 1.1 INTRODUCTION TO THEORY OF ARCHTECTURE What is a THEORY? (Webster) - a plausible or scientifically accepted general principle - body of principles offered to explain phenomenon (Oxford) - a supposition or a system of ideas inte...

AR111-THEORY OF ARCHITECTURE 01 MODULE 01: 1.1 INTRODUCTION TO THEORY OF ARCHTECTURE What is a THEORY? (Webster) - a plausible or scientifically accepted general principle - body of principles offered to explain phenomenon (Oxford) - a supposition or a system of ideas intended to explain something (Wikipedia) - a contemplative and rational type of abstract - generalizing thinking about a phenomenon - the results of such thinking 1.2 ARCHITECTURE  the art and science of designing and constructing buildings. - Latin architectura - Greek ἀρχιτέκτων – arkhitekton. - Arkhi ( ἀρχι ) – "chief" - Tekton ( τέκτων ) – "builder, carpenter, mason“  Art - the product or result of architectural work: buildings, collectively  Science - a style or method of building characteristic of a people, place, or time  Designing - the profession of designing buildings and other habitable environments  Constructing - the conscious act of forming things resulting in a unifying or coherent structure  Building - The different types of structures such as residential, commercial, institutional, industrial, open spaces and infrastructure. Theory of Architecture - act of thinking, discussing, and writing about architecture MODULE 02: Subtractive Transformation 2.1 ELEMENTS OF DESIGN - A form can be transformed by subtracting a portion of its volume. A. PRIMARY ELEMENTS OF DESIGN B. POSSIBILITIES OF GROUPING OF FORM Point Spatial Tension - indicates a position in space - This type of relationship relies on the close Line (1d) proximity of the forms or their sharing of a common visual trait - a point extended becomes a line with the properties of: length, direction, position Edge-to-edge Contact Plane (2d) - In this type of relationship, the forms share a common edge and can pivot about that edge. - a line extended becomes a plane with the properties of: length and width, shape, surface, Face-to-face Contact orientation, position - This type of relationship requires that the two - Overhead Plane, Wall Plane, and Base Plane forms have corresponding planar surfaces that Volume (3d) are parallel to each other. - a plane extended becomes a volume with the Interlocking Volumes properties of: length and width, and depth form - In this type of relationship, the forms and space surface orientation position interpenetrate each other’s space. The forms B. PROPERTIES OF FORM need not share any visual traits. FORM – is the primary identifying characteristic of C. ORGANIZATION OF FORM volume Centralized Form – a number of secondary forms Properties of Form: Shape, Size, Color, Texture clustered about a dominant, central parent-form C. RELATIONAL PROPERTIES OF FORM Linear Form – a series of forms arranged sequentially in a row. Relational Properties of Design Radial Form – a composition of linear forms Position extending outward from a central form in a radial - The location of the form relative to its manner. environment of the visual field. Orientation Clustered Form – a collection of forms grouped - The direction of a form relative to the ground together by proximity or a visual trait. plane, the compass points, other forms, or to the Grid Form – A set of modular forms related and person viewing the form. regulated by a three-dimensional grid. Visual Inertia - The degree of concentration and stability of a form 2.2. FORM AND SPACE A. TRANSFORMATION OF FORM Dimensional Transformation - A form can be transformed by altering one or more of its dimensions and still retain its identity as a member of a family of forms. MODULE 03: - The size of a building element relative to other forms in its context whose sizes are 3.1 PRINCIPLES OF DESIGN known. A. BALANCE  Human Scale - Which create visual weight as well as a feeling of - The size of a building element or space stability to the building relative to the dimensions and proportions 3 Types of Balance: of the human body.  Symmetrical E. CONTRAST - It creates a visual variety, excitement and Central axis – The left half is completely interest to the building identical to the right half. F. UNITY Formal – Projects symmetry but upon portions - Elements are used and grouped together in a of the subject are different. logical manner - Add interest and excitement to design and Radial – An arrangement where all parts create a sense of harmony radiate from the center Two Kinds of Unity:  Asymmetrical  Repetition – THE SIMPLEST KIND OF UNITY - Differs in form but equal in weight. It is  Accent – GIVE EMPHASIS AND INTEREST pleasing to the eye. 7 Key Elements of Unity:  Gravitational Balance - Landscape is informal in its disposition or 1. Texture parts and still gives perfect balance as a 2. Color whole 3. Tone B. RHYTHM 4. Direction - The repetition of all or some of the elements of 5. Proportion design, such as lines, shapes, and forms. 6. Solid and Void 7. Form and Shape Two Kinds of Rhythm: 3.2 Light, Color, and Texture  Unaccented - Duplication without any emphasis LIGHT  Accented - Light is defined as the portion of the - It is a rhythm that has an accent. It has electromagnetic spectrum that a human is able repetitions but gives emphasis to a specific to perceive part. C. EMPHASIS (DOMINANCE) Brightness – the amount of light given off by a light - High point or climax occurring in the subject source - The domination of a motif or design element Saturation – intensity of a color D. PROPORTION AND SCALE Proportion Hue – defined as a color or shade - Usually used to describe the relationship Blue Light/ White Light – makes us energetic and can between the size of spaces and masses and the interrupt sleep patterns size of the human body Scale Red Light/ Amber Light – is the least likely hue of - Deals with the relations of architectural parts; light to impact our internal clocks how we perceive the size of a building element or space relative to other forms COLOR Color Theory: Two Kinds of Scale:  Generic scale  Additive–builds colors by adding light  Subtractive–build colors by subtracting light.  Key Color Terms: Visual Elements Of Texture:  Hue  Real Texture - the term most people use to describe  Implied Texture different colors Effects Of Texture:  Brightness - represents the quality of a color from dark  Smooth Surface to light - or when it comes to pigments, how much - Reflects more light and therefore is a more black or white exists is in a color. intense color  TINT is a hue blended with WHITE  Rough Surface  TONE is a hue blended with GREY  SHADE is a hue blended with BLACK - Absorbs more light and therefore appears  Saturation darker. - describes how a color transitions from its MODULE 04: most vivid appearance towards a grey appearance 4.1 THE VITRUVIAN TRIAD Color Combinations: FIRMITAS (Strength, Solidity, Durability) - A building’s ability to remain durable after extended use and exposure to the natural element UTILITAS (Utility, Function, Commodity) - A building’s ability to appropriately predict and respond to the needs of its intended inhabitants VENUSTAS (Aesthetic, Beauty, Delight) Chromostereopsis - Venustas (Beauty) Is A Building’s Relationship To - This creates an optical illusion where one color Its Context’s Standard Of Aesthetics. appear closer than the other; due to different wavelengths. 4.2 SPATIAL THEORIES Color Psychology ANTHROPOMETRICS  Red  Orange - Comparative study of the measurements and  Yellow capabilities of the human body  Green - 'Anthropos' (meaning human)  Blue - 'Metron' (meaning measure).  Purple Two Basic Areas Of Anthropometry:  Pink  Brown  Static Anthropometry  White - Is the measurement of body sizes at rest  Gray and when using devices such as chairs,  Black tables, beds, mobility devices, and so n=on.  Functional Anthropometry TEXTURE - Is the measurement of abilities related to - It expresses something of the quality of the completion of tasks. Motion, and other materials, and it gives a particular quality to light aspects of space and equipment use. ERGONOMICS  - The process of designing or arranging CLASSICAL ORDERS workplaces, products, and systems so that they - Every building element follows an ‘order’, and fit the people who use them each order is meant to mimic ideal human forms How Does Ergonomic Work? RENAISSANCE THEORIES  Anthropometry MODULOR  Environmental Physics  Biomechanics - The modulor system is the most famous  Applied psychology standard of proportions used in architecture.  Social psychology - It is a scale of measurements and proportions of the human body devised by swiss architect Le PROXEMICS Corbusier (1887–1965). - The study of human use of space and the effects KEN that population density has on behavior, communication, and social interaction - THE TRADITIONAL JAPANESE UNIT OF MEASURE, - The distance surrounding a person forms a THE SHAKU, WAS ORIGINALLY IMPORTED FORM Space. CHINA. - The space within intimate distance and personal distance is called Personal Space. Two Methods Of Designing With The Ken Modular - The space within social distance and out of Method: personal distance is called Social Space.  Inaka-Ma Method - And the space within public distance is called - The ken grid of 6 shaku determined the Public Space. center-to-center spacing of columns. KINESTHETIC  Kyo-Ma Method - The floor mat remained constant (3.15 x - Also referred to as Kinesthesia 6.30 shaku) and the column spacing (ken - The perception of body movements. module) varied according to the size of the - It involves being able to detect changes in body room and thickness of the columns. Ranged position and movements without relying on from 6.4 to 6.7 shaku. information from the five senses - TATAMI – a traditional japanese floor mat 4.3 THEORIES OF PROPORTION GOLDEN RATIO - Golden Rectangle/Golden Mean/Phi/The Divine Proportion - Is a proportioning system that governs the relationship of smaller parts to the whole - THE RATIO IS AB:BC=BC:AC=1:1.618. - The proportion is derived from something known as the Fibonacci Sequence – an arrangement of numbers wherein each succeeding term is simply the sum of two preceding terms (1, 1, 2, 3, 5, 8, 13, etc) - Greek philosopher and geometer Pythagoras is thought to be the first to have determined that human proportions themselves corresponded with the golden mean - Leonardo Da Vinci, most famously explored in The Vitruvian Man sketch