Introduction Theory of Architecture 1 PDF

Introduction Theory of Architecture 1 Archi- Great Tekton- Builder Architecture means Great Builder WHAT IS ARCHITECTURE? - Architecture is whatever Architects design. Architects Design - Space - Form - User-environment Interaction/User experience - Movement - Enclosure - C...

Introduction Theory of Architecture 1 Archi- Great Tekton- Builder Architecture means Great Builder WHAT IS ARCHITECTURE? - Architecture is whatever Architects design. Architects Design - Space - Form - User-environment Interaction/User experience - Movement - Enclosure - Center - Periphery - GeometryVi - Structure, patterns, rhythm - Signs/wayfinding - Natural built interaction - Built social interaction - Social value - Materiality- constructability - Structure - Documentation - Quickness: change management - Integrated design ARCHITECTURAL KNOWLEDGE 3 Pillars of Design thinking Utilitas - Utility -Commodity -Social Fermitas - Structure -Firmness -Objective Venustas - Beauty -Delight -Subjective I. Activities of man - Desire for Preservation - Desire for Recognition - Desire for response - Desire for self-expression II. Influence of nature - Climate - Topography - Materials INFLUENCES OF MAN - Social Condition Period & Man's Personality - Height of gothic revival during Vicotrian Era - Egyptian Architecture and Fashion - Modern Contemporary LESSON 2 PRINCIPLES OF DESIGN Essentials of the structure 1. Visible and Invisible structures - Form (particular roof, windows, doors, walls, details) - Major Horizontal - Major Vertical 2. Visible and invisible structures - Volume - Points (Vertices) - Planes (Surfaces) - Lines (Edge) - Solid - Void Form (Visual Properties) Shape- true shape is more visible in front view Size- Real dimensions of Form Scale -- the size relative to other forms in its context Color- affects the visual weight of form Texture- Surface characteristics of a form Position- forms Location, relative to its environment or visual field Orientation - forms location relative to the ground plane, compass points or to the person viewing the form Visual inertia - degree of concentration and stability of a form - Man\'s perspective/view - Our distance from the form - Lighting conditions - Visual field surrounding the form THE TRANSFORMATION OF FORMS - dimensional transformation - subtractive transformation - additive transformation THE TRANSFORMATION OF FORMS ADDITIVE 1. Centralized forms 2. Linear forms 3. Radial forms 4. Clustered forms 5. Grid forms LESSON 3 ARTICULATION OF FORMS\ POINTS (CORNERS), PLANES (SURFACES), LINES (EDGES) Differentiating adjacent surfaces - with a change in material, color, texture, or\ pattern Developing the corner - as a distinct linear element independent of the\ surfaces Removing the corner - to physically separate adjacent planes. Lighting the form - to create sharp distinctions of light and dark at its corners. - Corners of a form can be rounded and smoothed over to emphasize the continuity of its surfaces. EDGES AND CORNERS A Slight deviation in the geometry of\ the adjoining planes makes the corner\ formally active in our visual field 4 WAYS TO REINFORCE A CORNER'S CONDITION VISUALLY 1. Introduce a separate and distinct element that is independent of the surfaces it joins.\ Defines the edges of the adjoining planes and becomes a positive feature of the form. 2. De-emphasizing the corner by introducing an opening at the corner; this weakens the definition of the volume within the form and emphasizes the planar qualities of the surface. 3. Neither planes are extended; this condition deteriorates the form's volume allowing interior space to leak outward and reveals the surfaces as planes in space. 4. Rounding off the corner emphasizes the continuity of a form's surfaces, the compactness of its volume, and softness of its contour PLAN CONFIGURATIONS L -- shaped configuration - generates a field of space from its corner outward. - A Corner as an independent element that\ joins two (2) linear forms together. - A Linear form that incorporated the corner in its boundaries - Building with l-configuration to establish corner of its site - Enclosed field of outdoor space to which its interior spaces relate Parallel planes configuration -- defines a volume of space between them that is axially oriented toward the open ends of the configuration - To visually reinforce the spatial field, along the open ends of the configuration, the base plane is manipulated, or overhead elements are added to the compositions. - The spatial field can be visually expanded by extending the base plane beyond the open ends of the configuration. U-shaped configuration -- defines field of space that has an inward focus as well as an outward orientation. - Secondary zones are created when openings are introduced. - This configuration can be used in building forms and organizations. - U-shaped building can define forecourt for a\ building's approach, and a recessed entrance\ within the volume of the building from itself Four planes configuration -- if openings are introduced at the corners of the space, the individual identity of the planes will be reinforced and encourage movement. To achieve visual dominance within a space, or become its primary face (highlight, accent), one of the enclosing planes can be differentiated from the others by its size, form, surface, articulation, or the nature of the openings within it. - Use of tiles and other finishes - Combination of paints and other finishes SURFACE - TEXTURE, TONE, & COLOR Texture -- usually associated with materials.\ Tone -- or the creation of light and shade.\ Color -- as distinguished from tone, results\ from the hues of the spectrum. LESSON 4 DESIGN ELEMENTS, PRINCIPLES, & CONCEPT FUNDAMENTALS - Elements - Principles - Considerations - Concept PLANNING - Considerations - Space Planning ELEMENTS -- lines VERTICAL - Represents dignity, formality, stability, and strength HORIZONTAL - Represents calm, peace, and relaxation DIAGONAL - Represents action, activity, excitement, and\ movements. CURVED - Represents freedom, the natural, having the\ appearance of softness, and creates a soothing\ feeling or mood ELEMENTS - colors - This design element can show the\ difference between day & night,\ light & dark, intensity and strength\ of the structure. This design\ element includes hue and\ saturation, color wheels, and color\ schemes. Example: SAINT BASIL'S\ CATHEDRAL MOSCOW ELEMENTS -- FORM & SHAPE\ FORM: - FORM: (3D) The shape and structure\ of something as distinguished from its\ substance or material. - SHAPE: (2D) The two-dimensional\ contour that characterizes an object or\ area. ELEMENTS -- SPACE - By incorporating the use of space\ in your design, you can enlarge or\ reduce the visual space. Types - Open, uncluttered spaces - Cramped, busy spaces - Unused vs. good use of space ELEMENTS -- TEXTURE SMOOTH SURFACE - Reflects more\ light and therefore is a more intense\ color. ROUGH SURFACE - Absorbs more light\ and therefore appears darker ELEMENTS -- VALUE - The relative lightness or darkness of a color - Methods\ Hue (Pure color without white and black) Tint (with white) Tone (with gray) Shade (with black) VISUAL DESIGN PRINCIPLES - BALANCE - RHYTHM - EMPHASIS - PROPORTION AND SCALE - MOVEMENT - CONTRAST - UNITY PRINCIPLES - BALANCE\ Parts of the design are equally distributed to\ create a sense of stability. Both physical and\ visual balance exist.\ Types\ Symmetrical or formal balance\ Asymmetrical or informal balance\ Radial balance\ Vertical balance\ Horizontal balance PRINCIPLES -- rhythm/REPETITION\ Repeated use of line, shape, color,\ texture or pattern\ Types\ Regular rhythm\ Random rhythm\ Gradated rhythm PRINCIPLES -- emphasis\ The feature in a design that attracts\ one's eye -- the focal point\ Emphasis can be achieved through\ size, placement, shape, color, and/or\ use of lines PRINCIPLES -- emphasis\ Location -- The building is centered horizontally.\ Lines -- All lines lead to the building including the\ horizon line, the stairway, and lines of\ trees.\ Shape -- The building is a geometric shape which\ contrasts with the surrounding organic\ (natural) shapes and therefore stands out. PRINCIPLES --proportion and scale - Comparative relationships between elements in\ a design with respect to size.\ \* 3:5 ratio is known as the Golden Mean\ FIBONACCI SEQUENCE PRINCIPLES -- MOVEMENT - Flow or feeling of action PRINCIPLES -- contrast - Noticeably different\ Can be created with\ Color\ Proportion and scale\ Shape\ Texture\ Etc. PRINCIPLES -- unity - Unity is achieved by the consistent\ use of lines, color, material,\ and/or texture within a design. - Branding, Identity