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# AR130P-THEORY OF ARCHITECTURE 1 ## 1ST TERM 2425 ## AR. SHEILA V. ELARDO ## INTRODUCTION TO THEORY OF ARCHITECTURE * Difference between Theory & History of Architecture * History - DESCRIPTION of the architectural facts. * Theory - provide an EXPLANATION for those facts ## BUILDINGS ST...

# AR130P-THEORY OF ARCHITECTURE 1 ## 1ST TERM 2425 ## AR. SHEILA V. ELARDO ## INTRODUCTION TO THEORY OF ARCHITECTURE * Difference between Theory & History of Architecture * History - DESCRIPTION of the architectural facts. * Theory - provide an EXPLANATION for those facts ## BUILDINGS STYLE AND ARCHITECTURE * Buildings are material facts because: * different activities * different locations * different to one another * Respond to a particular context (time, place, technology & programme) * Architects in the same geographic area exchange information and experiences. * STYLE - typical set of forms used by a number of different buildings * Architecture can be defined as stylistic similarity between different buildings. ## ARCHITECTURE AS REPRESENTATION * Basic function of architecture is to REPRESENT social institutions in built form. * Translate complex relationships of an institution into the language of architecture. * The relation between the architectural form of buildings during a particular period - the historical facts - and the institutions (the environment) which they represent is the area of Theory of architecture. ## Theory of architecture can be understood in several ways: * acts as a critical function * identifies problems * Architectural criticism * Theory of Architecture offers critical analysis- relation between architecture and other institutions. * Offering architectural criticism of the design * Looking at what architects WANT TO ACHIEVE * Offering possible solutions - semantic or stylistic problems * Providing explanation, context and historical background to critical issues * Examining the process and techniques ## Theory identifies critical problems in architecture. * buildings or styles are too similar to each other * buildings or styles are too different from each other * The Introduction of new Building Types * Rigid Styles generate Hostile or Aggressive Environments * The loss of Regional Character or Identity in Architecture ## Theories of Architecture is a guide on understanding of people's appreciation, utilization and behavior inside built-environs, which are relevant to the design processes for an architect. ## Importance of theory * Theories are those structured ideas that explain a phenomenon, and allow you to predict future phenomenon given certain conditions. * Architectural theories are those ideas that explain phenomenon related to spaces/environment, people's use of these spaces, people's perception of these spaces, and people's behavior within these spaces. * Some of these theories can answer questions often encountered in the design of spaces. ## Design, Designer and Architecture ### Questions to asked: * What do we do when we design for architecture? * What are the elements of architecture and how are these organized? * How are the visual elements represented as (geometric) ideas and how are these articulated in architecture? ### Architecture is a conceived idea which is then rationalized and materialized into a physical structure as a response to a set of conditions. ### Conditions come in various kinds, such as: * Cultural * Technological (and material) * Environmental or physical * Social * economic ### An example of environmental condition that shaped architecture is the adaptation of the stone Chinese pagoda into the wooden Japanese pagoda. ### The frequency of earthquakes in Japan made vertical stone structures hazardous to life and property. ### An example of socio-political condition that shaped architecture is the frequency of army invasion that occurred during the ancient civilization and the feudal societies of the middle age. ### Feudalism is a political set-up that gave rise to the castle architecture. ### The frequent wars and invasion influenced the emergence of the tower structures, battlement, crenellations, donjons and the like ### Hospital should be such that the health workers are able to efficiently perform their duties of treating and caring for the patients, while the patients are placed in a position for faster mental and physical recovery. ## Designer, Design and Users ### Design, in essence is a problem-solving process, particularly one that helps improve conditions for various human activities. ### It is a process of pre-figuring-out a set of solutions to a given set of conditions that needs to be addressed ### The designer, in order for her/him to have this enhanced problem-solving ability must have: * depth and range of design vocabulary * ability to perceive and evaluate design problems * first capability comes from training and experiences in architecture * second capability is to be able to recognize problems or anomalies, determine which aspects of a certain set of conditions need to be resolved, and which of these can be resolved with architectural solutions ## An architectural solution generally experienced through the following: * Beauty/aesthetics * Space flow * Adjacency * Area and space * Ease of use ## Beauty * a structure must be endearing for its users for them to place greater value on the structure and for the society to consider it as something that adds pride and character to the neighborhood ## Space Flow * The experience of space through time and movement of the building's users. * The experience of movement through the building from going to either a public space to an intimate place, from a less secure area to a high security space, from a place of high activity to a place of relaxation, or from a semi-outdoor area to a completely controlled environment. ## Adjacency * This is a factor that affects space flow and shows the value of placing certain spaces near or far from each other. ## Area and Space * What we arrange in an order and as components of a particular space flow. * They require identification of its physical limits, the types of enclosure, the relevant ambiance, necessary equipment and allowable occupancy. * Area and spaces are oftentimes defined by their function and users, and thus have a significant effect on users' activity within the building ## Ease of use * If beauty is what will catch the eye of building users, its function is what allows them to better perform their activities within its premises. ## Architectural Elements, Systems and Order * Architecture is a body of work with components (elements) and assemblies of procedures that results to something (systems) which are arranged in a particular structure (order) in order to provide a venue for enhanced human activities. * Architectural order must be such that the play of elements and systems reinforce each other create a coherent/unified building and experience. * See also the link of the recorded lecture in BB. ## Architectural Elements * Architectural elements come in varying forms * visual elements are among the primary architectural elements ## Primary Elements * Four primary elements in architecture: * Point * Line * Plane * 3-dimensional figures or solids ## Point * Point is a non-dimensional entity in geometry. * does not have any dimension, no length, width nor height * defines strategic location * vertex * center * middle * intersection of 2 or more lines at the same spot * apex, pinnacle or summit * origin or destination * pivot * In architecture, a point is similarly expressed as a focus, a highlight, a beginning, an end, an accent. * Location of a point with respect to other elements can also evoke a meaning or a mood * central location means a formal stable relationship * off-center location shows a dynamic one ## Line * has a more definite and measurable characteristics than the point * has dimension which is its length. * can signal varying messages * In architecture, it defines an: * edge * border * intersection of 2 planes * In architecture, lines are articulated in the following among others: * columns * corners (between two walls or a wall and the floor, or a wall and the ceiling) * cornices, gutters and * orientation of a tall building * chimney stack * suspension cables * line that lies horizontal is considered at rest * vertical line appears "rigid" and sometimes towering * diagonal line conveys motion or dynamism * curved one depending on the direction of the curve can either be encompassing or excluding. ## Plane * has more definite and measurable characteristics than the line * has 2 dimensions, its length and width which form a defined area * can be formed by at least 2 non-parallel lines. * Its primary abstract representation in geometry are the triangles, squares, circles and other polygons. * In architecture, its equivalents are the following among others: * building surfaces like the façade, walls, floors, ceiling, roof (flat) surfaces, ramps, countertops, window panels, door panels, awning panels * plaza, courtyard ## 3-dimensional Figures or Solid Forms & Space * generally called solids in geometry * 3 dimensions (length, width and height) are factors of its volume * Figures are defined by its surfaces or are formed from the intersection of at least 2 non co-planar surfaces. * fourth characteristic is its volume or the space it occupies * In geometry, its primary representation are: * pyramid * sphere * cube * cylinder * prisms, prismatoid, scutiod, etc. * and their derivatives * "shape" to denote the outline of surfaces or planes, and "figure" to denote the form of a 3-dimensional objects. ## Characteristics of Visual Elements * How are 3-dimensional figures formed? * a line can be defined by 2 points at a distance from each other, with the distance providing the line's dimension or its length * a plane can be defined by 2 lines parallel to each other or intersecting at one point, the dimension of each line providing basis for the length and width of the plane * if a line can be formed by 2 points, and 2 parallel or intersecting lines can define a plane a 3-dimensional figure can be formed by points, lines, planes or a combination of the three (3) simpler visual elements if placed on 2 or more planes in space. * A room, which is a space with 3-dimensions is generally defined by a base plane, wall planes and an overhead plane. * defined by the lines articulated by the floor and wall corners, wall-wall corners and the wall-ceiling corners; or the endpoints and midpoints of said lines. ## Characteristic: * Texture: sensed through touch * Color: visually sensed * Shape or form: visually sensed * Size (area or volume): visually sensed * Visual inertia: visual impression which depicts stability or movement * See also the link of the recorded lecture in BB. ## Transformation of Visual Elements ## Position/Role or Location: * the 3-dimensional figure, being the most complex of all the visual elements inevitably contains all the other simpler elements such as the point, line and planes. In the same manner, we claim that the plane contains the 2 other simpler elements, the point & the line, and so on. * form often includes a sense of three-dimensional mass or volume, shape refers more specifically to the essential aspect of form that governs its appearance-the configuration or relative disposition of the lines or contours that delimit a figure or form. ## SHAPE * The characteristic outline or surface configuration of a particular form. ## SIZE * Shape is the principal aspect by which we identify and categorize forms. * The physical dimensions of length, width, and depth of a form. * scale is determined by its size relative to other forms in its context. ## COLOR * A phenomenon of light and visual perception that may be described in terms of an individual's perception of hue, saturation, and tonal value. ## TEXTURE * The visual and especially tactile quality given to a surface by the size, shape, arrangement, and proportions of the parts. ## POSITION * The location of a form relative to its environment or the visual field within which it is seen. ## ORIENTATION * The direction of a form relative to the ground plane, the compass points, other forms, or to the person viewing the form. ## VISUAL INERTIA * The degree of concentration and stability of a form. * Shape refers to the characteristic outline of a plane figure or the surface configuration of a volumetric form. * It is the primary means by which we recognize, identify, and categorize particular figures and forms. * In architecture, we are concerned with the shapes of: * Floor, wall, and ceiling planes that enclose space * Door and window openings within a spatial enclosure * Silhouettes and contours of building forms ## PRIMARY SHAPES * Gestalt psychology affirms that the mind will simplify the visual environment in order to understand it * The theory of Gestalt psychology accentuates that a whole thing is greater than its smaller parts. * The most significant are the primary shapes: * CIRCLE * A plane curve every point of which is equidistant from a fixed point within the curve (centralized, introverted figure, normally stable and self-centering in its environment) * TRIANGLE * A plane figure bounded by three sides and having three angles (signifies stability) * SQUARE * A plane figure having four equal sides and four right angles (pure and the rational) ## Surface first refers to any figure having only two dimensions, such as a flat plane. * Cylindrical surfaces are generated by sliding a straight line along a plane curve, or vice versa (translational or a ruled surface) * Translational surfaces are generated by sliding a plane curve along a straight line or over another plane curve. * Ruled surfaces are generated by the motion of a straight line. * Rotational surfaces are generated by rotating a plane curve about an axis. * Paraboloids are surfaces all of whose interactions by planes are either parabolas and ellipses or parabolas and hyperbolas. * Parabolas are plane curves generated by a moving point that remains equidistant from a fixed line and a fixed point not on the line. * Hyperbolas are plane curves formed by the intersection of a right circular cone with a plane that cuts both halves of the cone. * Saddle surfaces have an upward curvature in one direction and a downward curvature in the perpendicular direction. * Regions of downward curvature exhibit archlike action while regions of upward curvature behave as a cable structure * Related to shell structures are gridshell structures, which were pioneered by the Russian engineer Vladimir Shukhov in the late 19th century. * Gridshells rely on their double curvature geometry for their strength but are constructed of a grid or lattice, usually of wood or steel. * Symmetrical curved surfaces, such as domes and barrel vaults, are inherently stable. * Asymmetrical curved surfaces, on the other hand, can be more vigorous and expressive in nature. ## PRIMARY SOLIDS * The term "solid" does not refer to firmness of substance but rather to a three-dimensional geometric body or figure. ## SPHERE * solid generated by the revolution of a semicircle about its diameter, whose surface is at all points equidistant from the enter. (centralized and highly concentrated form) ## CYLINDER * A solid generated by the revolution of a rectangle about one of its sides. (centralized about the axis passing through the centers of its two circular faces) ## CONE * A solid generated by the revolution of a right triangle about one of its sides. ## PYRAMID * A solid generated by the revolution of a right triangle about one of its sides. ## CUBE * A polyhedron having a polygonal base and triangular faces meeting at a common point or vertex. * A prismatic solid bounded by six equal square sides, the angle between any two adjacent faces being a right angle. ## Regular forms refer to those whose parts are related to one another in a consistent and orderly manner. They are generally stable in nature and symmetrical about one or more axes. The sphere, cylinder, cone, cube, and pyramid are prime examples of regular forms. ## Irregular forms are those whose parts are dissimilar in nature and related to one another in an inconsistent manner. They are generally asymmetrical and more dynamic than regular forms ## TRANSFORMATION * A line, when transformed can be shortened or elongated, stretched or curved, or can be made more stable, more upright or more dynamic, depending on its original position. * When a line is bent, a new dimension is added, which may result to a plane, or even a 3-dimensional element. ## Plane transformation can happen by: * Extension/expansion * Curving/rolling ## Rotation * Folding: Origami is another method of transforming a surface. It relies on the bending of a surface to form another surface. * In several cases, surface transformation by means of folding result to 3-dimensional figures. ## Transformation of Form * The form is considered as the element of contact between mass (solid) and space. * Its properties, dimensions and volume, color, texture, and orientation offer large opportunities for variation and transformation ## Categorization of 3-dimensional figure transformation : 1. Dimensional transformation 2. Transformation by subtraction (resulting to subtractive forms) 3. Transformation by addition (resulting to additive forms) 1. Dimensional transformation refers to the change made by means of changing any of the figure's dimensions (length, width, height, volume) 2. Subtractive transformation may or may not result to the retention of the figure's identity. 3. Additive transformation is likely to change the group classification of the figure, and possibilities of resulting to a new form seem endless. ## This transformation has a variety of means of attachment/addition of new figures into the original object such as: * Spatial tension - Close proximity arrangement and angular vertex contact (common point) * Edge to edge contact (common lines) * Face to face contact (common surface) * Interlocking volumes * Additive forms resulting from the accretion of discrete elements can be characterized by their ability to grow and merge with other forms ## CENTRALIZED FORM * Several secondary forms clustered about a dominant, central parent-form. ## LINEAR FORM * A series of forms arranged sequentially in a row. ## RADIAL FORM * A composition of linear forms extending outward from a central form in a radial manner. ## CLUSTERED FORM * A collection of forms grouped together by proximity or the sharing of a common visual trait. ## GRID FORM * A set of modular forms related and regulated by a three-dimensional grid. ## Articulation of Lines, Surfaces and Forms ## Introduction to Form and Space * Four primary visual elements in architecture, and their properties * Transformation of elements is how we generate complex images from simple geometric elements to that create a variety of impressions * Surfaces when transformed either by rolling or folding, are given a new dimension and possibly a new meaning as well. * an object is transformed when its dimensions and size are changed or when its form is completely altered by means of adding or subtracting other forms from it. * Among the transformation methods, the additive transformation is the most varied as we have numerous ways of connecting the solids we combine, such as: * Spatial tension (proximity of solids) * Point-to-point contact (common point) Face to face contact (common surface) * Interlocking volumes * With additive transformation, we also have varied means of arrangement that can give the viewers a cohesive (unified) structure such as: * Linear * Centralized * Radial * Clustered * Grid ## Collision of Geometry * is like additive transformation in the sense that forms of similar or various shapes are added to form the final shape. * when the shapes that are added compete for visual dominance * suggests a movement which adds to the impression created by the resulting figure * When two forms differing in geometry or orientation collide and interpenetrate each other's boundaries, each will vie for visual supremacy and dominance ## Forms can evolve: * The two forms can subvert their individual identities and merge to create a new composite form. * One of the two forms can receive the other totally within its volume. * The two forms can retain their individual identities and share the interlocking portion of their volumes. * The two forms may appear as head-on collision like simple additive transformation, or combined another movement such as rotation, twisting, sliding, etc. ## Articulation of Surfaces, Corners and Edges in Architecture * Form transformation is only one method with which we enrich the visual impact of our design. * **ARTICULATION OF FORM** * Articulation refers to the way the surfaces of a form come together to define its shape and volume. ## Articulation may be achieved by: * differentiating adjoining planes by changing material, color, texture and/or pattern * developing corners as distinct linear elements independent of adjoining surfaces * removing corners to physically separate neighboring planes * lightening portions of the form to create contrast in tonal value along edges and corners ## Edges and Corners * Corners define the meeting of two planes. * Introduce a separate and distinct element that is independent of the surfaces it joins * If an opening is introduced to one side of the corner, one of the planes will appear to bypass the other * If neither plane is extended to define the corner, a volume of space is created to replace the corner. * Rounding off the corner emphasizes the continuity of the bounding surfaces of a form, the compactness of its volume, and softness of its contour. ## SURFACE ARTICULATION * Our perception of the shape, size, scale, proportion, and visual weight of a plane is influenced by its surface properties as well as its visual context. * A distinct contrast between the surface color of a plane and that of the surrounding field can clarify its shape, while modifying it tonal value can either increase or decrease its visual weight. * A frontal view reveals the true shape of a plane; oblique views distort it. * Elements of known size within the visual context of a plane can aid our perception of its size and scale * Texture and color together affect the visual weight and scale of a plane and the degree to which it absorbs or reflects light and sound. * Directional or oversized optical patterns can distort the shape or exaggerate the proportions of a plane. * The color, texture, and pattern of surfaces articulate the existence of planes and influence the visual weight of a form. * Linear patterns can emphasize the height or length of a form, unify its surfaces, and define its textural quality. * A transformation from a pattern of openings in a plane to an open façade articulated by a linear framework. * On a smaller scale, the surfaces of buildings owe their visual characteristics to the way their materials are joined and assembled in construction. ## Form and Space * According to Lao Tsu, it is in the void or space that we find the purpose of the objects that we create. * It is the space defined by the objects that we take advantage of such objects. * It is the space defined by the architectural form that we see the value of architecture. * In this sense, the theory on the unity of the opposites is manifested. ## Composition, as a visual stimulus, depends on how we interpret the interaction between the negative (space) and the positive elements (solids) that we see. The play of figures and space is interpreted by our minds as an organization of sorts from which we take cue as to how to react, behave, or appreciate the visual stimuli. ## Our minds tend to look for patterns or structure or arrangement in order to understand and store any visual information. ## Figure-Ground Theory is a theory that allows us to study a situation by means of considering either the solid only or the space only as the focus of investigation. * In the study of form and space, the most important elements are those which serve as the surface of interaction between the solids and the space/s. These are: * Base plane * Overhead plane * Vertical plane * Inclined plane * Our visual field normally consists of heterogeneous elements that differ in shape, size, color, or orientation. To better comprehend the structure of a visual field, we tend to organize its elements into two opposing groups: positive elements, which are perceived as figures and negative elements, which provide a background for the figures. ## Unity of Opposites * We perceive positive elements as figures (form) and negative elements as the background for the figures (space). ## Unity of the Opposites in Architecture * The relationship between mass and space in architecture is where we usually find its 3 most important qualities, its beauty, its function and its strength. * Exterior space bounded on one side by a building (with interior space) and on other sides by solid walls * A portion of the outside is enclosed as an exterior room * Interior and private exterior spaces are merged: * An outdoor private space is completely surrounded by interior spaces. Introverted. * Stand as a distinct object in space and dominate the site through its form and position, an extrovert scheme * Free-standing with interior spaces merged with exterior spaces * Stretch out & present a broad face to address a view, terminate and axis or define an edge * Positive form (solid) in negative (space) ## Elements Defining Space ## Base Planes * These are surfaces horizontal in orientation, placed at the bottom and tend to be the most stable in its relationship with gravity. * Plain base plane: leveled with the ground or surrounding environment or with limited elevation that is visually negligible. * Elevated base plane: lifted from surrounding spaces, with the intent to focus and "exalt" the space defined or place the space within eye level of people in surrounding spaces. * Visual continuity is inclined with elevated space having the vantage view. * Spatial & visual continuity is maintained * Space discontinued while maintaining visual continuity * Visual & spatial flow is interrupted * Depressed Base Plane: sunken from surrounding spaces, with the intent to focus and place visual advantage for those at the surrounding spaces. ## Overhead Planes * the least visually stable and generally serve as roof, ceiling, canopy. * can significantly affect physical comfort levels and concentration on detailed tasks * Low overhead planes tend to create focus to nearby objects, hence are rarely suitable for large spaces. * High overhead planes lift sightlines and allows for better air circulation. * These planes create varying effects with its: * Openings * Light * Height * curves or inclination * levels and variety in planes * acoustic properties ## Vertical Planes * Like the overhead planes, vertical planes create varying effects with its: * Texture & color * Openings * Light * Height * curves or inclination * levels and variety in planes * acoustic properties * Structural stability as overhead planes' support. * These planes come in varying combinations such as: * Vertical lines (pavilion/pergola, stoa, street lined with trees, arcade, colonnades), least private, most extrovert * Single planes (exterior walls of buildings, fences, billboards) * Angled planes (exterior walls of buildings, fences, partitions, private outdoors) * Parallel plane (hallway walls, fences, street lined with buildings) * Semi-enclosu * re (alcove, niche, vestibule) * Complete enclosure (courtyard, rooms, atrium), most private, introvert ## Openings in Space * Openings are significant elements not only because openings break into the massing but it also allows for the continuity and flow of space and sightlines, which bring out the quality and ambiance of spaces ## Openings are classified into the following types: * Openings within planes * Opening at corners & between planes * Openings occur within planes, at corners, or between planes. * A corner opening and how it changes the form of the enclosure. ## The qualities of architectural spaces can be summed up into the following: * Form (figure) * Color (surface) * Texture (surface) * Pattern (surface) * Sound (surface's acoustic quality) * Proportion (dimension) * Scale (dimension) * Definition (orientation & position or configuration) * Degree of enclosure (openings) * View, outlook, sightlines (openings) * Light (openings) ## Please see recording of lecture in Blackboard Panopto. ## Reference: Form, Space and Order by Francis D.K. Ching. ## Form and Space: Organization * Spatial organizations are based on at least 3 rationalizations: * Physical structure * Adjacencies and proximity * Circulation ## Physical Structure * Additive transformation, we generally end up with these types of form organization: * Linear * Grid * Radial * Central * Clustered * Physical organization of spaces can likewise come within any or a combination of the above-mentioned arrangements. * Cost is the most common factor for grid organization, particularly with the popular use of reinforced concrete means of construction. ## Adjacencies and Proximity * The logic behind adjacency and proximity of spaces are more functional reasons than aesthetic, economic (cost) or structural. * It basically lies in how users can be more efficient in doing what they need to do within the premises of the building. ## Among the most employed method is to analyze and synthesize by means of: * Behavioral pattern studies of users * Adjacency matrix * Bubble diagram * Within these methods, considerations such as privacy, security, hygiene & sanitation, users' routine (sequence of activities) and set of activities are integral part of these analysis methods * the concept of hierarchy of spaces may now come into view, as adjacencies and proximity are often arranged in terms of hierarchy the need for certain considerations ## Spaces that need to be adjacent or in proximity tend to result to the following types of spatial relationships: ## Space within a space: * A space may be contained within the volume of a larger space. * A large space can envelop and contain a smaller space within its volume. ## Interlocking Spaces * The field of a space may overlap the volume of another space * An interlocking spatial relationship results from the overlapping of two spatial fields and the emergence of a zone of shared space. ## Adjacent Spaces: * Two spaces may abut each other or share a common border. * Adjacency is the most common type of spatial relationship. It allows each space to be clearly defined and to respond, each in its own way, to specific functional or symbolic requirements. ## SPACES LINKED BY A COMMON SPACE * Two spaces that are separated by distance can be linked or related to each other by a third, intermediate, space. * Two spaces may rely on an intermediary space for their relationship. ## CIRCULATION * The circulation of a building, the approach, entrance, configuration of path, path-space relationships and the various forms of circulation spaces is a definitive way to experience the spatial qualities of a building, from how it presents itself at the exterior in relationship to the site, to the way it changes the sightlines and views of its users as they enter and move around the building's premises. * Circulation is considered both a system (of movement in space through time) and a way to organize spaces. The way a building is experienced through circulation come in the following sequence. * Approach * Entrance * Configuration of path (sequence of spaces, starting from entrances)) * Path-space relationships (edge, nodes and termination of paths) * Form of the circulation space (stairs, hallways, ramps) ## Building Approach * Before passing into space, we approach along a path. This is the first step of the system before you experience the space in a building. The nature of the approach may distinguish between inside and outside ## Building entrances * A vertical plane distinguishes one space from another. It divides the space into an interior and exterior. * The location of entrance will determine the path and pattern of the activities in the space ## Configuration of the path * All path of movement has a starting point and an ending point, which will lead us through the space and help us to experience the space better. The configuration of the path influences and is influenced by the organization of the spaces. ## Path-space relationships * The path may relate to the spaces in three different ways such as pass by space, pass through space, and terminate in a space ## Form of the circulation space * The circulation space can be considered as a movement of paths which are created by forms. * There are three different types of the circulation spaces: enclosed, open on both sides, and open on one side. The image shows an example of open to one side circulation space. * The windows on the right side of the space provides visual and spatial continuity with the space and creates indoor outdoor space * ENCLOSED: forming a public walk-through space or private corridor that relates to the spaces it links, through entrances in a wall plane * OPEN ON ONE SIDE: Forming a balcony or gallery that provides visual and spatial continuity with the space it links * OPEN ON BOTH SIDES: * Forming a colonnaded passageway that becomes a physical extension of the space it passes through ## Design Principles ## Balance * This refers to the arrangement of elements based on these elements "weights" or value in reference to a certain frame, composition, or axis. * Symmetrical or Formal Balance * The elements within the design are identical in relation to a centerline or axis. * Asymmetrical or Informal Balance * Parts of the design are not identical but are equal in visual weight. * Radial Balance * Design elements radiate outward from the center. * Vertical Balance * The top and bottom parts are equal. * Horizontal Balance * The parts on the left and right sides are equal. ## Emphasis * Emphasis refers to the focal object or element of a composition. * 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 ## Rhythm * Rhythm is the repetition of an element in space in an orderly (not necessarily regular, but with pattern) beat or interval. Visual rhythm in architecture is the repetition of a positive element in a negative space at intervals forming a pattern. * Regular Rhythm * An element is repeated at the same repetition/interval each time. * Random Rhythm * The beats of the element are random or are at irregular intervals. * Gradated Rhythm * The repeated element is identical with the exception of one detail increasing or decreasing gradually with each repetition. ## Unity is a principle that promotes coherence by means of continuity or similarity in a design or composition. ## Harmony is a principle that promotes coherence by means of complementation. Harmony is usually shown by elements that may differ but when placed together form an organized whole. ## Movement is sometimes considered part of balance because it likewise pertains to the composition's visual stability or dynamics. ## Contrast * Noticeably different * Can be created with * Color * Proportion and scale * Shape * Texture ## Variety * Visual variety allows for the observer to continue to find new things to appreciate the structure. * Visual variety means richness in visual appearance that is engaging and not over-powering nor boring ## Proportion is likewise often related to ratio, or the dimensional relationship of one element to another element. It is the harmony in dimensional relationship among various elements. ## Golden Section * The Golden Section is one that is believed to have been observed in many classical Greek architecture. The face of the Parthenon is said to show this type of proportion. The golden section is likewise known to be found in many elements in nature, such as the nautilus. * The Fibonacci series is a very close approximation of the Golden ratio. It shows the proportion in progression coming from a unit square area. ## Classical Order * The Greek classical order is a system of scale and proportion where element in a Greek temple is a measure of the diameter of its column 1/3 of its shaft from its base. From here, a harmonious proportioning of the temple is derived. When the Romans adopted this, they used the diameter of the column at the base at its unit of measure ## Renaissance Theories * These are ideal proportions used in architectural spaces which came about as a result of renaissance architects' study of the Pythagorean theory (c²=a²+b²) and the greek classical architecture as documented in Marcus Vitruvius' 10 Books of architecture. * The series are applied not only in surfaces but in the relationship of various dimensions of 3-dimensional forms or architectural spaces. ## The Modulor by Le Corbusier is another study in proportion, which is likewise based on Da Vinci's Vitruvian Man, the golden ration, Fibonacci series and human dimensions. * The result of his study was published in the "Modulor, a harmonious measure to the human scale universally applicable to Architecture & Mechanics". ## Shaku was a unit of measure based on roughly the length of 4 fore-arms (or equivalent of four 1-foot) and originated in China. Shaku was adopted in Japan and later on evolved into Ken (approximately 0.8 of a shaku). ## Ken became a measure not only of construction pieces, of room spaces, but later on of aesthetic proportions. A tokonoma, a decorative alcove in the ceremonial tatami room is often with minimum ornamentation and must at least be 1ken in measure (2 ken is the ideal). ## Anthropometry is a proportion based on the human scale, human appendages (arms, legs, reach, span), torso & height. It is the most practical proportion used in the design of objects meant for human consumption and use. ## Please see the link to the recorded lecture in Blackboard.