Theory of Architecture Reviewer - ALE Summary PDF

1. THEORY OF ARCHITECTURE 1 ARCHITECTURAL SYSTEMS: Experience through movement of space and time. MODULE 1: INTRO TO THEORY - Approach and entry...

1. THEORY OF ARCHITECTURE 1 ARCHITECTURAL SYSTEMS: Experience through movement of space and time. MODULE 1: INTRO TO THEORY - Approach and entry - Path configuration and access - Sequence of spaces 1.1. DEFINITION OF THEORY AND - Light, view, touch, hearing, and smell ARCHITECTURE ARCHITECTURAL SYSTEMS: Achieved by means Theory - Abstract thought or speculation of technology. resulting in a system of assumption or principles used in analyzing, explaining, or predicting - Structure and enclosure phenomena, and proposed or followed as a basis - Environmental protection and comfort of action. - Health, safety and welfare - Durability TYPES OF THEORY: ARCHITECTURAL SYSTEMS: Accommodating a Descriptive – simply explains event or Program phenomena. - User requirements, needs, and Prescriptive – prescribes guidelines. aspirations ARCHITECTURE – The art and science of - Socio-cultural factors designing and constructing buildings. - Economic factors - Legal restraints Art - The conscious use of skill, craft, and - Historical traditions and precedents creative imagination in the production of what is beautiful, appealing, or of more ARCHITECTURAL SYSTEMS: Compatible with its than ordinary significance. context. Science - A branch of knowledge dealing - Site and environment with a body of facts or truths obtained by - Climate: Sun, wind, temperature and direct observation, experimental precipitation investigation, and methodical study, - Geography: Soil, topography, vegetation systematically arranged and showing the and water operation of general laws. - Sensory and Cultural characteristics of the place VILLA SAVOYE | LE CORBUSIER – located in 1.2. ARCHITECTURAL SYSTEMS AND Paris, this graphic analysis will illustrate the way ORDERS architecture embodies the harmonious ARCHITECTURAL SYSTEMS: The Architecture of integration of interacting and interrelated parts Space, Structure, and Enclosure. into a complex and unified whole. - Organizational Pattern, Relationships, Hierarchy - Qualities of Shape, Color, Texture, Scale, Proportion. - Qualities of Surfaces, Edges and Openings. SPATIAL SYSTEM - The three-dimensional CIRCULATION SYSTEM - The stair and ramp integration of program elements and spaces penetrate and link the three levels and heighten accommodates the multiple functions and the viewer’s perception of forms in space and relationships of a house. light. The curved form of the entrance foyer reflects the movement of the automobile. STRUCTURAL SYSTEMS - A grid of columns support horizontal beams and slabs. The cantilever acknowledges the direction of approach along the longitudinal axis. ARCHITECTURAL ORDERS Physical: - Solids and Voids - Interior and Exterior - Space - Structure - Enclosure - Machine Perceptual: Sensory perception and recognition of the physical elements by experiencing them sequentially in time. - Approach and Departure - Entry and Egress - Movement Through the Order of Spaces ENCLOSURE SYSTEM - Four exterior wall planes - Functioning of and activities within spaces define a rectangular volume that contains the - Qualities of Light, Color, Texture, View, and program elements and spaces. Sound Conceptual: Comprehension of the ordered and disordered relationships among a building’s elements and systems and responding to the meanings they evoke. - Images - Patterns - Signs - Symbols - Context 1.3. PROCESSES IN ARCHITECTURAL become form with characteristics of substance, DESIGN shape, size, color, and texture. DESIGN PROCESS - A purposeful activity aimed Point at devising a plan for changing an existing Line situation into a future preferred state. Plane DESIGN PHASES: Volume 1. Initiation POINT - It marks a position in space. 2. Preparation Conceptually, it has no length, width, or depth, 3. Synthesis and is therefore static, centralized, and 4. Evaluation directionless. 5. Action As the prime element in the vocabulary of form, a 6. Reevaluation point can serve to mark: Initiation - Identifying a problem and its social, - the two ends of a line; economic, and physical context. - the intersection of two lines; Preparation - Collecting and analyzing relevant - meeting of the lines at the corner of a information and establishing goals and criteria for plane or volume; an acceptable solution. - the center of a field. Synthesis - Discovering constraints and POINT ELEMENTS: A point has no dimension. To opportunities, and hypothesizing possible visibly mark a position in space or on the ground alternative solutions. plane, a point must be projected vertically into a linear form, as a column, obelisk, or tower. Evaluation - Simulating, testing, and modifying acceptable alternatives according to specified goals and criteria. Action - Selecting and implementing the most suitable solution. Reevaluation - Assessing how well an implemented solution in use satisfies the specified goals and criteria. Piazza del Campidoglio Rome. Michelangelo Buonarroti: 2. THEORY OF ARCHITECTURE 2 The equestrian statue of Marcus Aurelius MODULE 2: ELEMENTS OF marks the center of this urban space. ARCHITECTURE AND PRINCIPLES OF DESIGN 2.1. PRIMARY ELEMENTS OF DESIGN Each element is first considered as a conceptual element, then as a visual element in the vocabulary of architectural design. When made visible to the eye or paper or in three dimensional space, these elements TWO POINTS - describe a line that connects LINE - An extended point. Conceptually, a line has them; further suggest an axis perpendicular to the length, but no width or depth. It is capable of line they describe and about which they are visually expressing direction, movement, and symmetrical. growth. A line can serve to: - join, support, surround, or intersect other visual elements; - describe the edges of and give shape to planes; - articulate the surfaces of planes. LINEAR ELEMENTS - Vertical linear elements, such as columns, obelisks, and towers, have been used throughout history to commemorate significant events and establish particular points TORII, Ise Shrine in space. Mie Prefecture, Japan: In plan, two points can denote a gateway signifying passage from one place to another. Extended vertically, the two points define both a plane of entry and an approach perpendicular to it. Linear members that possess the necessary material strength can perform structural functions. In these examples, linear elements: - express movement across space - provide support for an overhead plane - form a three-dimensional structural frame for architectural space. The National Mall. Washington, D.C.: This lies along the axis established by the Lincoln Memorial, the Washington Monument, and the United States Capitol Building. PLANE - an extended line in a direction other than FORM - is the primary identifying characteristic of its intrinsic direction. Conceptually, a plane has a volume. It is established by shapes and length and width, but no depth interrelationships of the planes that describe the boundaries of the volume. Volumetric Elements - building forms that stand Shape is the preliminary identifying as objects in the landscape can be read as characteristic of a plane. It is determined by the occupying volumes in space. contour of the line forming the edges of a plane. 2.2. FORM ARTICULATION PLANAR ELEMENTS In architectural design, we FORM - The formal structure of a work—the manipulate three generic types of planes: manner of arranging and coordinating the Overhead Plane, which can be either the elements and parts of a composition so as to roof or the ceiling plane; produce a coherent image. Wall Plane ARTICULATION - A method or manner of jointing Base Plane, which can be either the that makes the united parts clear, distinct, and ground or floor plane. precise in relation to each other. VISUAL PROPERTIES OF FORM: Shape Size Texture Color VOLUME - A plane extended in a direction other SHAPE - The characteristic outline or surface than its intrinsic direction. Volume has three configuration of a particular form. dimensions: length, width, and depth. In architecture, we are concerned with the All volumes can be analyzed and understood to shapes of: consist of: floor, wall, and ceiling planes that enclose - points or vertices space; - lines or edges where two planes meet door and window openings within a spatial - planes or surfaces that define the limits or enclosure; and boundaries of a volume. silhouettes and contours of building forms. SIZE - The physical dimensions of length, width, Colors used to convey emotions: and depth of a form. While these dimensions determine the proportions of a form, its scale is Warm Colors: exhibit energy and joy (best determined by its size relative to other forms in its for personal messages). They have a context. tendency to appear larger. Cool colors: convey calmness and peace (best for office use). They have a tendency to appear smaller next to a warm color. They often work well as a background color. TEXTURE - The visual and tactile quality given to a surface by the size, shape, arrangement, and BASIC COLOR SCHEMES: proportions of the parts. Texture also determines the degree to which the surfaces of a form reflect or absorb incident light. 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. Color is the attribute that most clearly distinguishes a form from its environment. It also affects the visual weight of a form. PARTS OF THE COLOR: Complementary - Any two colors Hue – another word for color, a degree of opposite each other on the wheel. lightness, darkness, strength, etc. Split complementary - Use three colors. Value - describes how light or dark the The scheme takes one color and matches color is it with the two colors adjacent to its Temperature - relates to the feeling of complementary color. warmth or coolness the color evokes Analogous - Any three colors next to each Intensity - measures the range of a color from dull to vivid. Also called chroma and other on the wheel. saturation. Triadic - Any three colors that are equally apart on the color wheel. COLOR WHEEL: Tetradic or Double Complimentary - Primary – red, blue, yellow Uses four colors together, in the form of Secondary – violet, green, and orange two sets of complementary colors. Tertiary - red-violet, blue-violet, yellow- green, blue-green, red-orange, and yellow- orange.  Tints - come from adding white to hues Visual Inertia - The degree of concentration and Shades - come from adding black to hues stability of a form. The visual inertia of a form Tones - mixing the hue with grey depends on its geometry as well as its orientation Achromatic - use no color, just shades of relative to the ground plane, the pull of gravity, grey, black and white. Also known as and our line of sight. greyscale. FORM ARTICULATION A form can be articulated by: - Change in material, color, texture, or pattern; RELATIONAL PROPERTIES OF FORM - Developing corners as distinct linear - Position elements; - Orientation - Removing corners; and - Visual Intertia - Lighting the form. Position - The location of a form relative to its environment or the visual field within which it is 2.3. CIRCULATION seen. CIRCULATION - The passage of persons or things from one place to another or through an area. Since we move in time through a sequence of spaces, we experience a space in relation to where we’ve been and where we anticipate going. Orientation - The direction of a form relative to CIRCULATION ELEMENTS: the ground plane, the compass points, other forms, or to the person viewing the form Approach Entrance Configuration of the path Path-space relationships Approach: The distant view. Prior to actually passing into the interior of a building, we approach its entrance along a path. This is the first phase of the circulation system, during which we are prepared to see, experience, and use the spaces within a building. Kinds of Approach: Entrances may be grouped formally into the following categories: Frontal Oblique - Flush Spiral - Projected - Recessed Frontal - Leads directly to the entrance of a building along a straight, axial path. The visual Flush - Maintains the continuity of the goal that terminates the approach is clear. surface of a wall and can be deliberately obscured. Oblique - Enhances the effect of perspective on Projected - Forms a transitional space, the front facade and form of a building announces its function to the approach, and provides overhead shelter. Spiral - Prolongs the sequence of the approach and emphasizes the three-dimensional form of a Recessed - Also provides shelter and building as we move around its perimeter. receives a portion of exterior space into the realm of the building. The notion of an entrance can be visually reinforced by: Entrance - From outside to inside. Entering a building, a room within a building, or a defined - making the opening lower, field of exterior space, involves the act of wider, or narrower than penetrating a vertical plane that distinguishes anticipated one space from another and separates “here” - making the entrance deep or from “there.” circuitous; or - articulating the opening with ornamentation or decorative embellishment. CONFIGURATION OF PATH Grid - A grid configuration consists of two sets of parallel paths that intersect at regular intervals - The sequence of spaces. and create square or rectangular fields of space. - All paths of movement are linear in nature. And all paths have a starting point, from which we are taken through a sequence of spaces to our destination. KINDS OF CONFIGURATION Linear Radial Spiral Grid Network - A network configuration consists of Network paths that connect established points in space. Composite Linear - All paths are linear. A straight path, however, can be the primary organizing element for a series of spaces. Composite - Employing a combination of the preceding patterns. To avoid the creation of a disorienting maze, a hierarchical order among the paths and nodes of a building should be Radial - has linear paths extending from r established by differentiating their scale, form, terminating at a central, common point. length, and placement. Spiral - is a single, continuous path that originates from a central point, revolves around it, and becomes increasingly distant from it. PATH-SPACE RELATIONSHIPS Enclosed - Forming a public galleria or private corridor that relates to the spaces it links through Edges, nodes, and terminations of the entrances in a wall plane. path. Paths may be related to the spaces they link in the following ways: Pass by Spaces Pass through Spaces Terminate in a Space Pass by Spaces - The integrity of each space is maintained; ▪ The configuration of the path is flexible; ▪ The mediating spaces can be used to link the path with the spaces. Open on one side -Forming a balcony or gallery that provides visual and spatial continuity with the spaces it links. Pass Through Spaces - The path may pass through a space axially, obliquely, or along its edge; ▪ In cutting through a space, the path creates patterns of rest and movement within it. Open on Both Sides - Forming a colonnaded passageway that becomes a physical extension of the space it passes through. Terminate in a Space - ▪ The location of the space establishes the path; ▪ This path-space relationhip is used to approach and enter functionally or symbolically important spaces. 2.4. PRINCIPLES OF DESIGN FORM OF THE CIRCULATION SPACE Design is the creation and organization of formal (Corridors, halls, galleries, stairways, and rooms) elements in a work of art. A circulation space may be: Design Principle - is a fundamental and Enclosed; comprehensive concept of visual perception for structuring and aesthetic composition. Open on One Side; Open on Both Sides. PRINCIPLES OF DESIGN Proportion and Scale Contrast Balance Hierarchy Rhythm Classical Orders - To the Greeks and Romans of Proportion - The proper harmonious relation of classical antiquity, the Orders represented in one part to another or to the whole. their proportioning of elements the perfect expression of beauty and harmony. The basic unit PROPORTIONG SYSTEM of dimension was the diameter of the column. Golden Section Tuscan Regulating Lines Doric Classical Order Ionic Renaissance Theory Corinthian Ken Composite Anthropometry Tuscan Doric Golden Section - The Golden Section can be defined as the ratio between two sections of a line, or the two dimensions of a plane figure, in which the lesser of the two is to the greater as the greater is to the sum of both. Ionic Corinthian The Greeks recognized the dominating role the Golden Section played in the proportions of - Classification of Temples according to the human body. Renaissance architects also their intercolumniation. explored the Golden Section in their work. In more - Vitruvius’ rules for the diameter, height, recent times, Le Corbusier based his Modulor and spacing of columns. system on the Golden Section. Regulating Lines - If the diagonals of two rectangles are either parallel or perpendicular to each other, they indicate that the two rectangles have similar proportions. These diagonals, as well as lines that indicate the common alignment of elements, are called regulating lines. RENNEISSANCE THEORYS - The height of rooms with flat ceilings would be equal to their width. The architects of the Renaissance, - The height of square rooms with vaulted believing that their buildings had to belong to a ceilings would be one-third greater than higher order, returned to the Greek their width. mathematical system of proportions. - For other rooms, Palladio used Pythagoras’ theory of means to determine their heights. Modulor - Le Corbusier developed this proportioning system to order “the dimensions of that Seven Ideal Plan Shapes for Rooms: which contains and that which is contained.” - He based the Modulor on both mathematics (the aesthetic dimensions of the Golden Section and the Fibonacci Series) - the proportions of the human body (functional dimensions). - Andrea Palladio (1508–1580) was probably the most influential architect of the Italian Renaissance. - In The Four Books on Architecture, first published in Venice in 1570, - he followed in the footsteps of his predecessors, Alberti and Serlio, - proposed these seven “most beautiful and proportionable manners of rooms.” - The basic grid consists of three measures, 113, 70, and 43 centimeters, Determining The Heights of The Room: proportioned according to the Golden - Palladio also proposed several methods Section. for determining the height of a room so that it would be in proper proportion to the room’s width and length. -  - Le Corbusier saw the Modulor as a system of measurements that could govern lengths, surfaces, and volumes, and “maintain the human scale everywhere.” - The ken evolved into an aesthetic module that ordered the structure, materials, and space of Japanese architecture. Ken - The size of a room is designated by the - The ken was introduced in the latter half of number of its floor mats. Japan’s Middle Ages. - Although it was originally used simply to designate the interval between two columns and varied in size, the ken was soon standardized for residential architecture. - Because of their 1:2 modularity, the floor mats can be arranged in a number of ways - The ken evolved into an aesthetic module for any given room size. that ordered the structure, materials, and - For each room size, a different ceiling space of Japanese architecture. height is established according to the - The tokonoma is a shallow, slightly raised following: height of the ceiling (shaku), alcove for the display of a kakemono or measured from the top of the frieze board flower arrangement. = number of mats x 0.3. - As the spiritual center of a traditional - In a typical Japanese residence, the ken Japanese house, the tokonoma is located grid orders the structure as well as the in its most formal room. additive, space-to-space sequence of rooms.  - The relatively small size of the module allows the rectangular spaces to be freely arranged in linear, staggered, or clustered patterns. - - A special field that has developed from a concern with human factors is ergonomics—the applied science that coordinates the design of devices, systems, and environments with our physiological and psychological capacities and requirements. Anthropometry - Anthropometry refers to the measurement of the size and proportions of the human body. - It is predicated on the theory that forms and spaces in architecture are either containers or extensions of the human body and should therefore be determined by its dimensions. - The dimensions of the human body also affect the volume of space we require for movement, activity, and rest. - The fit between the form and dimensions of a space and our own body dimensions can be: ▪ Static ▪ Dynamic - Average dimensions must always be ▪ Based on social distances and treated with caution since variations from personal space. the norm will always exist due to the difference between men and women. Scale - The size of something compared to a reference standard or to the size of something else. - Human scale in architecture is based on the dimensions and proportions of the human body. - Of a room’s three dimensions, its height has a greater effect on its scale than either its width or length. - Scale refers to how we perceive or judge the size of something in relation to something else. In dealing with the issue of scale, therefore, we are always comparing one thing to another. - Two Types: Visual Scale, Human Scale. - Visual Scale refers to how small or large something appears to be in relation to its - In addition to the vertical dimension of a normal size or to the size of other things in space, other factors that affect its scale its context. are: - the shape, color, and pattern of its bounding surfaces. - the shape and disposition of its openings. - the nature and scale of the elements placed within it. Contrast - Opposition or juxtaposition of dissimilar - Human Scale in architecture is based on elements in a work of art to intensify the dimensions and proportions of the each element’s properties and produce human body. a more dynamic expressiveness.  Symmetry - The exact correspondence in size, form, and arrangement of parts on opposite sides of a dividing line or plane, or about a center or axis. - 2 Types of Symmetry: Bilateral, Radial - Bilateral - Refers to the balanced arrangement of similar or equivalent elements on opposite sides of a median axis so that only one plane can divide the - A contrast in form, geometry, or whole into essentially identical halves. orientation can also visually reinforce the identity and independence of the sunken field from its larger spatial context. - Contrast create visual variety, excitement and interest to the building and can be achieved by: ▪ using different sizes; ▪ different material, texture, and colors; or ▪ manipulating the light, shade, and shadow of masses. - Radial - The balanced arrangement of similar, radiating elements such that the composition can be divided into similar halves by passing a plane at any angle around a center point or along a central axis. Balance - A state of equilibrium between contrasting, opposing, or interacting elements. Also the pleasing or harmonious arrangement or proportion of parts or elements in a design or composition. Hierarchy By Placement - A form or space may be strategically placed to call attention to itself as - For a form or space to be articulated as being the most important element in a being important or significant to an composition. organization, it must be made uniquely visible. - This visual emphasis can be achieved by endowing a form or shape with: - exceptional size - a unique shape - a strategic location Rhythm - Movement characterized by a patterned repetition or alternation of formal elements or motifs in the same or a modified form. Repetition By size - A form or space may dominate an architectural composition by being - The act or process of repeating formal significantly different in size from all the elements or motifs in a design. other elements in the composition. - The simplest form of repetition is a linear pattern of redundant elements. They may be grouped according to: - Size - Shape - Detail Characteristics CLASSIFICATION OF TEMPLES From VITRUVIUS “Ten Books of Architecture” By shape - A form or space can be made visually dominant and thus important by clearly differentiating its shape from that of the other elements in the composition.  3. THEORY OF ARCHITECTURE 3 Centralized - a stable, concentrated composition MODULE 3: DESIGN PERCEPTION that consists of a number of secondary spaces grouped around a large, dominant, central space. 3.1. SPACE ARTICULATION Linear - consists essentially of a series of spaces. SPACE - is the three-dimensional field in which These spaces can either be directly related to one objects and events occur and have relative another or be linked through a separate and position and direction, especially a portion of distinct linear space. that field set apart in a given instance or for a Radial - combines elements of both centralized particular purpose. and linear organizations. It consists of a dominant SPATIAL RELATIONSHIPS central space from which a number of linear organizations extend in a radial manner. Spaces may be related to each other in several fundamental ways: Clustered - relies on physical proximity to relate its spaces to one another. It often consists of Space within space repetitive, cellular spaces that have similar Interlocking Space functions and share a common visual trait such Adjacent Spaces as shape or orientation. Spaces Linked by a Common Space Grid - consists of forms and spaces whose Space Within a Space - the larger, enveloping positions in space and relationships with one space serves as a three-dimensional field for the another are regulated by a three-dimensional grid smaller space contained within it. pattern or field. Interlocking Spaces - An interlocking spatial relationship results from the overlapping of two spatial fields and the emergence of a zone of 3.2. PROXEMICS shared space. PROXEMICS - is the study of the symbolic and Adjacent Spaces - It allows each space to be communicative role of the spatial separation clearly defined and to respond, each in its own individuals maintain in various social and way, to specific functional or symbolic interpersonal situations, and how the nature and requirements. degree of this spatial arrangement relates to environmental and cultural factors. Spaces Linked by a Common Space - Two spaces that are separated by distance can be PERSONAL SPACE - The variable and subjective linked or related to each other by a third, distance at which one person feels comfortable intermediate, space. talking to another. Also called personal distance. SPATIAL ORGANIZATIONS LEVELS OF DISTANCES: Centralized Intimate Distance Linear Personal Distance Radial Social Distance Clustered Public Distance Grid  Public Distance (10 feet to infinity | 3 meters and beyond) - This is the zone where we can no longer pick up subtle nuances of meaning from the face or tone of voice. The eye can take in the whole body at a glance. It’s the distance of the lecture hall, mass meetings, and interactions Intimate Distance (0-18 Inches/0-450mm) - with powerful figures until such time as they bid Voluntarily selected gap between people who are you to come closer. drawn to each other. At this close range, vision is distorted and any vocalization is a whisper, moan, or grunt. Personal Distance | 18 inches to 4 feet (450mm- SEMI-FIXED FEATURE SPACE - Furniture 1.20m) - The sense of body heat is lost. Eyesight arrangement in public places has a distinct begins to focus, and vocalization comes into play. relationship to the degree of conversation. Although only ritualized touch is typical, the other person is still at arm’ s length, available to be Sociopetal grasped, held, or shoved away. Sociofugal Sociopetal Space - Spaces which tend to bring people together. Social Distance (4 to 10 feet | 1.20m - 3.00m) - This is the zone of impersonal transaction. We now have to rely solely on what we can see and hear. By the middle of the range, the eye can focus on an entire face. When the distance is more than Sociofugal Space - Tend to keep people apart eight feet, it’s OK to ignore another’s presence and discourage conversations. and it’s easy to disengage from a conversation. 3.3. ARCHITECTURAL STYLES BAROUQUE Style - A particular or distinctive form of artistic - more ornate than the Renaissance style expression characteristic of a person, people, or - deliberate in its attempt to impress, and period. was lavish of all styles, both in its use of materials and in the effects it achieves. MOORISH ROCOCO - prevalent in Spain and Morocco - influences were Mesopotamian brick and - final phase of the Baroque; stucco techniques - characterized by a profuse, semi-abstract - frequent use of horseshoe arch, and ornamentation Roman columns and capitals. - associated with lightness, swirling forms, flowing lines, ornate stucco work, and CLASSICAL arabesque ornament. - derived from the principles of Greek and NEOCLASSISCISM Roman architecture. - characterized by monumentality, strict ROMANESQUE use of the orders, and sparing application - emerged from Roman and Byzantine of ornament. elements; ESPRESSIONISM - characterized by massive articulated wall structures, arches and powerful vaults. - buildings were treated not only as functional structures but also as GOTHIC sculptural objects - revolutionary style of construction ART NOUVEAU - emerged from Romanesque and Byzantine forms; - style of fine and applied art characterized - characterized by a delicate balance of by fluid, undulating motifs, often derived forces, with thrusts directed throughout a from natural forms. rigid structural lattice. ART DECO - features were height and light, achieved through a mixture of skeletal structures - Style Moderne and ever increasing windows. - marked by geometric motifs, streamlined and curvilinear forms, sharply defined RENAISSANCE outlines, often bold colors. - developed during the rebirth of classical INTERNATIONAL STYLE art and learning in Europe - characterized by the use of classical - functional architecture devoid of regional orders, round arches, and symmetrical characteristics proportions. - characterized by simple geometric forms, large untextured, often white surfaces, large areas of glass, and general use of steel or reinforced concrete construction. BAUHAUS CONCEPTUAL ARCHITECTURE - The concepts and ideas were - “invisible” or “imaginary” architecture; characterized chiefly by the synthesis of - represents plans and drawings for technology, craft, and design aesthetics buildings and cities that have never been - emphasizes on functional design. constructed; - pure research or speculation. BRUTALISM - emphasizes the aesthetic use of basic building processes, especially of cast-in- 4. THEORY OF ARCHITECTURE 4 place concrete, with no apparent concern MODULE 4: TROPICAL ARCHITECTURE for visual amenity. 4.1. ELEMENTS, FACTORS, AND CONCEPTS POST-MODERNISM OF CLIMATIC DESIGN - reaction against International style and CLIMATE - A measure of the average pattern of Modernism. variation in temperature, humidity, atmospheric - encourages use of elements from pressure, wind, precipitation, atmospheric historical vernacular styles and often particle count and other meteorological variables playful illusion, decoration, and in a given region over long periods of time. complexity. CLIMATE vs. WEATHER ORGANIC ARCHITECTURE - Climate is different from weather, in that - expression of personal freedom weather only describes the short-term - harmony between structure and the conditions of these variables in a given environment region. - integration of individual parts to the whole concept CLIMATIC ELEMENTS: - all forms should express the natural use of Solar radiation or sunlight materials Air temperature DECONSTRUCTIVISM Atmospheric humidity Precipitation - “Neo-modern” or “post-structuralism” Wind - questions traditional assumptions and takes modernist abstraction to an extreme THE KÖPPEN SYSTEM and exaggerates already known motifs. - One of the most widely-used climate EVOLUTIONARY ARCHITECTURE classification systems. - It was first published by Russian German - Eugene Tsui, major proponent; climatologist Wladimir Köppen in 1884, - design that grows and develops based on with several later modifications by Köppen climatic and ecological elements, as well himself, notably in 1918 and 1936. as advances in technology; - approached as a living organism as if natural forces had shaped the structure.  - The system is based on the concept that water is available), clear skies, and native vegetation is the best expression intense solar radiation. of climate. - Tropical and subtropical desert (BWh) - Thus, climate zone boundaries have been - Mid-latitude steppe and desert climate selected with vegetation distribution in (BSh) mind. - Tropical and subtropical steppe climate - The Köppen climate classification scheme (BSk) divides climates into five main groups, Temperate Climates each having several types and subtypes: - Type A: Tropical climates - These climates have an average monthly - Type B: Dry (arid and semiarid) temperature above 10 °C (50 °F) in their climates warmest months, and an average monthly - Type C: Temperate climates temperature above −3 ° C (27 F) in their - Type D: Continental climates coldest months. - Type E: Polar and alpine climates Continental Climates Tropical Climate - These climates have an average - Found in a nearly unbroken belt around the temperature above 10 °C (50 °F) in their Earth at low latitudes, mostly within 15° N warmest months, and a coldest month and S. average below −3 °C - Solar radiation is large and relatively - These usually occur in the interiors of constant from month to month ensures continents and on their upper east coasts, both high temperatures (generally in normally north of 40°N. excess of 18 °C) and a virtual absence of Polar Climates thermal seasons. - Wet and dry seasons. - These usually occur in the interiors of - Tropical rainforest climate (Af) continents and on their upper east coasts, - Tropical monsoon climate (Am) normally north of 40°N. - Tropical wet-dry climate (Aw) - Tundra climate (ET) - Snow and ice climate (EF) Dry Climates - Highland climate (H) - Arid and semiarid climates cover about a CLIMATE OF THE PHILIPPINES quarter of Earth’s land surface, mostly between 50° N and 50° S, but they are - The climate of the Philippines is tropical mainly found in the 15– 30° latitude belt in and maritime. both hemispheres - It is characterized by relatively high - “Arid”, a land or a climate having little or temperature, high humidity and no rain and is typically too dry or barren to abundant rainfall. support lush vegetation. - It is similar in many respects to the climate - They exhibit low precipitation, great of the countries of Central America. variability in precipitation, low relative humidity, high evaporation rates (when  The most important elements of the country's Rainfall weather and climate are the following: - Rainfall is the most important climatic Temperature element in the Philippines. Humidity - Rainfall distribution throughout the Rainfall country varies from one region to another, depending upon the direction of the Temperature moisture-bearing winds and the location - Excluding Baguio, the mean annual of the mountain systems. temperature in the Philippines is 26.6 °C. Seasons - The coolest months fall in January with a mean temperature of 25.5 °C while the - Rainy and Dry warmest month occurs in May with a - The rainy season, from June to November mean temperature of 28.3 °C. - The dry season, from December to May, - Latitude is an insignificant factor in the which may be subdivided further into: variation of temperature - The cool dry season, from - Altitude shows greater contrast in December to February temperature. - The hot dry season, from March to - Thus, the mean annual temperature of May Baguio with an elevation of 1,500 meters CLIMATE TYPES is 18.3°C. Type I. Two pronounced seasons: dry from Baguio City - comparable with those in the November to April and wet during the rest temperate climate and because of this, it is of the year. known as the summer capital of the Type II. No dry season with a pronounced Philippines. rainfall from November to January. Humidity Type III. Seasons are not very pronounced, relatively dry from November to April, and - Humidity refers to the moisture content of wet during the rest of the year. the atmosphere Type IV. Rainfall is more or less evenly - Due to high temperature and the distributed throughout the year. surrounding bodies of water, the Philippines has a high relative humidity. Four recognized climate types in the Philippines, - The combination of warm temperature based on the distribution of rainfall. and high relative humidity gives rise to Source: PAGASA high perceived temperature throughout the archipelago. - It is especially uncomfortable during March to May, when temperature and humidity attain their maximum levels.  4.2. THEORIES AND PRNCIPLES OF TROPICAL DESIGN GOALS FOR VARIOUS CLIMATES Cool Climates o Maximum thermal retention o Maximum heat gain o Maximum wind resistance Temperate Climates o Moderate thermal retention o Moderate heat gain o Slight wind exposure (humidity control) Hot-humid Climates o Maximum wind exposure o Maximum internal airflow PREVAILING WINDS o Minimum heat gain Hot-dry Climates Hanging amihan (northeast), November- o Minimum heat gain April o Moderate wind resistance Hanging habagat (southwest), May- o Moderate internal airflow October GERONIMO MANAHAN - “The passively cooled Monsoon - a seasonal shift in the prevailing wind urban house”, a prototype house designed by direction, that usually brings with it a different Geronimo Manahan in collaboration with the kind of weather. Ministry of Energy. Typhoons - Have a great influence on the climate and weather conditions of the Philippines. - A great portion of the rainfall, humidity and cloudiness. - They generally originate in the region of the Marianas and Caroline Islands of the Pacific Ocean which have the same latitudinal location as Mindanao. - Their movements follow a northwesterly direction, sparing Mindanao from being directly hit by majority of the typhoons that cross the country. - This makes the southern Philippines very desirable for agriculture and industrial development. PASSIVE DESIGN - Design that works with the Passive Design Considerations environment to exclude unwanted heat or cold Orientation and take advantage of sun and breezes (inducing Ventilation comfort conditions in the building interiors), Landscaping therefore avoiding or minimizing the need for Thermal Mass mechanical heating or cooling. Insulation PASSIVE COOLING - The use of passive cooling Windows principles in the tropics results in a building that Natural lighting is comfortable, energy efficient and results in substantial savings in running costs of both 1. Orientation - concerns the position of the cooling and lighting building on the site as well as the arrangement of the rooms within it. Pros and Cons of Passive Cooling: There are two main goals to consider when - initial costs for passive cooling considering the building orientation: systems will be higher because these systems are typically Orientation for minimal solar heat integral to the building envelope gain. - often offset by the minimal Orientation for maximum air flow. operating costs required, as well as the minimized impact on the environment. ACTIVE COOLING - A building design approach that addresses the problem of inducing comfort by means of equipment that consume energy. Pros and Cons of Active Cooling: - Low initial cost Principles of Passive Design: - But this will soon be recouped by the costs for equipment, Avoid heat gain maintenance, and energy Encourage natural ventilation consumption. Make use of natural light Create cool outdoor areas  2. Ventilation - Ventilation, circulation of air SUN PATH DIAGRAMS or to replace stale air with fresh air. Azimuth Lines - Azimuth angles run Stack Ventilation around the edge of the diagram. Altitude Lines - are represented as concentric circular dotted lines that run from the center of the diagram out. Date Lines - start on the eastern side of the graph and run to the western side and represent the path of the sun on one particular day of the year. Hour Lines/Analemma - are shown as figure-eight-type lines that intersect the date lines and represent the position of the sun at a specific hour of the day. Passive Ventilation - Designing a building in a way that maximizes natural ventilation will greatly reduce the need for air- conditioning - Air movement over the body, even if the air not much cooler, creates a feeling of cool due to the evaporation of moisture from the skin 3. Landscaping - Reducing the extent of paving and other hard surfaces with vegetation. - The hard surfaces of pavement around buildings absorb and re- radiate heat, creating a hotter 4. Thermal Mass microclimate - Thermal mass is the ability of - Thus, it is smart to minimize the building materials to absorb, store, extent of paving and replace them and release heat. with vegetation Urban Heat Island A city or metropolitan area that significantly warmer than its surrounding rural areas due to human activities. - In tropical climates, the use of materials with low thermal mass is preferable particularly on walls that are directly exposed to the sun. - This is because lightweight construction such as timber respond quickly to cooling breezes, allowing the building to cool down faster TROMBE WALL - is a system for indirect solar - Louvers and casement style heat gain. It consists of a dark colored wall of high windows allow building users to thermal mass facing the sun, with glazing spaced control how much natural air in front to leave a small air space. The glazing enters the building. traps solar radiation like a small greenhouse. - Well-placed louvers or windows, at floor level and at the highest point of the room, create convection air flow which draws air into the building and creates breezes to cool occupants. 5. Insulation - controls the rate at which a building loses or gains heat, keeping warmer air in during winter and excluding external heat in summer. - is one of the most effective ways to reduce heat input to a building and can be installed in the roof, ceiling - In a tropical climate, windows and walls of the building. should ideally be shaded from - There are generally two types of direct sunlight all year round and insulation: bulk insulation and should open to allow air flow. reflective insulation. - Where effective shading cannot be Bulk insulation - acts as thermal mass achieved, insulating windows and resists the transfer of heat. Bulk against heat transfer can reduce insulation includes materials such as cooling costs. mineral wool, cellulose fiber, polyester Solar Shading - Shading devices shield and polystyrene. windows and other glazed areas from Reflective Insulation - mainly resists heat direct sunlight in order to reduce glare and flow due to its high reflectivity and low excessive solar heat gain in warm weather ability to re-radiate heat and is more 7. Natural Lighting - maximizing the amount effective when installed with an air layer of natural light that enters the building can next to the shiny surface. lead to significant energy savings by 6. Windows - are an important way to reducing the need for artificial lighting. encourage and direct air flow into a building.  Maximizing Natural Light Skylights Atria Light shelves Clerestory windows Light tubes Air Movement - is vital in passively-cooled environments in hot-humid localities - critical for most urban areas and Principle 2: Air possesses inertia. Once lowlands in the Philippines set in motion, it tends to continue to flow - hits the human body promotes in its initial direction until some evaporation of sweat and induces a intervening force is met. cooling sensation. - air flow into the interiors should be directed to the occupancy zones especially those far from windows Principle 3: Air flows through the path of least resistance. Although there is a need to induce air movement during the hot-humid periods of the year, there are also periods of the year when the building should be able to resist typhoon winds. PRINCIPLES OF AIR FLOW THERMAL COMFORT - is the condition of mind Wind - The movement of air through a building is that expresses satisfaction with the thermal generated by differences in air pressure as well as environment. Maintaining this standard of temperature. thermal comfort for occupants of buildings or Principle 1: Air flows from a high pressure other enclosures is one of the important goals of area to a low pressure are HVAC design engineers. SEA AND LAND BREEZE Sea Breeze - wind from the sea (high pressure) directed towards the land (low pressure); due to daytime heating. Land Breeze - wind from land (high pressure) directed towards the sea (low pressure); due to night time cooling. Malayan homes’ plentiful windows aim to maximize cross-ventilation. TROPICAL ARCHITECTURE - can be regarded as a type of green building applicable specifically for tropical climates, using design to optimally reduce buildings’ energy consumption, particularly the cooling load. Bahay Kubo - Living platform elevated on Main Objectives: stilts, adaptation to damp ground Maximize filtered air movement/speed up conditions. High-pitched roof, rain water winds can be quickly drained, creates large air Minimize humidity and avoid mold growth space (insulation), heat is radiated at an Provide maximum shade, especially in late angle rather than directly on living space morning and all afternoon below. Create a cool and dark microclimate Large windows, cross ventilation Low building density for better air with Operable windows, awning type, movement protection from rain at the same time Vegetation is desirable as a radiation provides shade. Wide roof overhangs, absorbent surface and for its evaporative Bamboo flooring, slats allows air to breeze and shade properties. upward and Surrounding gardens. PHILIPPINE TROPICAL ARCHITECTURE Samoans long ago did not install walls to allow free-flow breezes.  Bahay na Bato - Living platform is 5. THEORY OF ARCHITECTURE 5 elevated, heavy stone walled ground floor. MODULE 5: MASTERS OF ARCHITECTURE High-pitched roof, rain water can be quickly drained, creates large air space ALVAR AALTO - Born in Finland in 1898. He (insulation), heat is radiated at an angle graduated with honors from Helsinki Polytechnic rather than directly on living space below in 1921 after which he opened his own practice. Wide eaves, alero, underside was fitted He held the position of Professor of Architecture with latticed vents. Large windows, capiz at MIT 1946 to 1948, and was president of the panels allow daylight to penetrate Academy of Finland. interiors. Ventanillas, operable windows on barandillas. Volada, cantilevered gallery along the perimeter of the second floor, double layered façade. Calado, latticed openings above interior walls. Operable louvers or jalousies, dynamic exterior louvers Auditorium - University of Helsinki, Finland. Alvar Aalto generated a style of functionalism which avoided romantic excess and neoclassical monotony. He utilized texture, color, and structure in creative new ways. Aalto's designs were particularly significant because of their response to site, material and form. SUN ORIENTATION - preference for north KUNSTEN orientations of the main facades of the building MUSEUM WIND ORIENTATION - main walls and windows (Museum of should face the prevailing wind direction Modern Art). Aalborg, Denmark. ANTONI GAUDI - Born in Spain in 1852. He studied at the Escola Superior d'Arquitectura and designed his first major commission for the Casa Vincens using a Gothic Revival style.  Guggenheim Museum | Bilbao, Spain La Sagrada Familia | Barcelona, Spain Gaudi developed a sensuous, curving, almost surreal design style which established Gehry moved away from a conventional him as the leader of the Spanish Art Nouveau commercial practice to an artistically directed movement. His characteristically warped form of atelier. His deconstructed architectural style Gothic architecture drew admiration from other began to emerge in late 1970s when he created avantgarde artists. collagelike compositions out of found materials. He created pieces of functional sculpture. Dancing House | Prague Casa Batlló Barcelona, Spain. FRANK GEHRY - Born in Canada in 1929. He Vitra Design Museum | Germany studied at the Universities of Southern California and Harvard before he established his first practice. FRANK LLOYD WRIGHT - Born in Richland Louvre Pyramid | Paris, France Center, Wisconsin in 1867. He was educated at Due to his reliance Second Ward School, Madison and at the on abstract form and University of Wisconsin where he took some materials such as stone, mechanical drawing and basic mathematics concrete, glass, and courses. steel, he has been He then departed for Chicago where he spent considered a disciple of several months in J. L. Silsbee's office before Gropius. Pei generally seeking employment with Adler and Sullivan. designs sophisticated glass clad buildings loosely related to the high-tech movement. Bank of China Tower | Hong Kong Guggenheim Museum | New York City Wright believed in designing structures that were in harmony with humanity and its Essensa Towers | Taguig City environment, a philosophy he called organic architecture. Falling Water | (Kaufman House) Pennsylvania Through experimentation, Wright developed the idea of the prairie house - a long, low building with hovering planes and horizontal emphasis. JØRN UTZON - Born in Copenhagen in 1918. After studying at the Academy I.M. PEI - Ieoh Ming Pei, of Arts in Copenhagen, he born in China in 1917. He travelled through Europe, studied architecture at the United States and MIT and Harvard. He Mexico. He established his worked for several own practice in Copenhagen in 1950 when he companies and as a professor at Harvard before returned from his travels. he founded his own architectural firm in 1960. Sydney Opera House Tange's early designs attempted to New South Wales, Australia combine modernism with traditional Japanese forms of architecture. Utzon has created a style which In the late 1960s he rejected this earlier incorporates the regionalism in favor of an abstract international sculptural quality of style. Alvar Aalto, and the organic structures of Frank Lloyd Wright Peace Memorial into his designs. Influenced by architectural Museum Hiroshima. tradition, attempts to create architecture for living that adheres to a strict structural and constructive process LE CORBUSIER - Charles-Édouard Jeanneret- Gris. Born in Switzerland in 1887. Trained as an artist, he National Assembly travelled extensively Building | Kuwait through Germany and the East. In Paris, he studied under Auguste Perret and absorbed the cultural and artistic life of the city. KENZO TANGE - Born in Osaka, Japan in 1913. He Villa Savoye | Poissy, France graduated from the From 1922 Le Corbusier University of Tokyo in 1938 worked with his cousin and studied city planning Pierre Jeanneret. During at the graduate school at this time, Le Corbusier's the University of Tokyo. ideas began to take He received a degree in engineering in physical form, mainly as 1959. Two years later, he established his own houses which he created firm. He also served as professor of urban as "a machine for living in" and which engineering at the University of Tokyo from 1963 incorporated his trademark five points of to 1974. architecture. St. Mary’s Cathedral Unité d'Habitation Tokyo, Japan Marseille, France  LUDWIG MIES VAN DER ROHE - Born in Notre Dame Aachen, Germany in du Haut 1886. He worked in the Ronchamp, family stonecarving France business before he joined the office of Bruno Paul in Berlin. He entered the studio of Peter Behrens in 1908 and remained until 1912. LOUIS SULLIVAN - Born in Boston, Seagram Building In Massachusetts in 1856. He studied architecture collaboration with Philip at the Massachusetts Johnson | New York City. Institute of Technology for He developed a design one year. He then worked approach based on advanced as a draughtsman for structural techniques. He Furness and Hewitt in also developed a sympathy for the aesthetic Philadelphia and for credos of both Russian Constructivism and the William Le Baron Jenney Dutch De Stijl group. “Less is more” in Chicago. In 1874 he travelled to Europe where he studied at the Ecole des Beaux Arts in Paris. He Farnsworth House returned to Chicago a year later. Plano, Illinois. Wainwright Building St. Louis, Missouri His designs generally involved a simple geometric form decorated with ornamentation based MICHAEL GRAVES - on organic symbolism. Born in Indianapolis, “Form follows function.” Indiana in 1934. He studied at the University of Cincinnati, Ohio and The Sullivan Center at Harvard University. (Formerly Carson, Pirie, After working as a Scott and Company Fellow at the American Academy in Rome for two Building) Chicago. years, he started his own practice in Princeton, New Jersey. He became a professor at Princeton University in 1972.  Disney’s Hotel New York City. He generates an Hearst Tower ironic, vision of New York City Classicism in which his buildings have become classical in their mass and order. Graves also has become an an opponent of modern works who uses humor as an integral part of his architecture. OSCAR NIEMEYER - Born in Rio de Janeiro Brazil in Humana Building 1907. He graduated from Louisville, Kentucky. the Escola Nacional de Belas Artas in Rio de Janeiro and later joined the office of Lucio Costa. In 1936 he joined the team of Brazilian architects collaborating with Le NORMAN FOSTER - Born Corbusier on a new Ministry of Education and in Manchester, England Health in Rio de Janeiro. in 1935. He received his architectural training at Brasilia Cathedral, Manchester University Brasilia School of Architecture In his early career, his and Yale University. He designs borrowed worked with Richard Rogers and Sue Rogers and extensively from the his wife, Wendy Foster, as a member of "Team 4" Brazilian Baroque until Foster Associates was founded in London in style of architecture. 1967. In 1956, Niemeyer 30 St. Mary Axe (The was appointed architectural adviser to the Gherkin) London, England. organization in charge of implementing Lucio Costa's plans for Brazil's new capital. The "High Tech" vocabulary of Foster Associates shows an uncompromising exploration of technological innovations and forms. Their designs emphasize the Penang State Mosque repetition of industrialized "modular" units in Jelutong, Malaysia. which prefabricated off-sitemanufactured elements are frequently employed.  PHILIP JOHNSON REM KOOLHAAS Born in Netherlands in 1944. Born in Cleveland, Ohio Koolhaas studied at the in 1906. He graduated Architectural Association from Harvard University School of Architecture in and received an A. B. in London and at Cornell architectural history, in University in Ithaca, New York. 1930 and a B.Arch in 1943. He served as Director of Architecture at CCTV Headquarters MOMA. He worked with Richard Foster and with Beijing, China. John Burgee until his retirement. He became a He has been considered a trustee of MOMA in 1958, received the AIA Gold noted Deconstructivist Medal in 1978, and received the Pritzker since the major MOMA Architecture priz. exhibition in New York. Glass House Although Koolhaas tends toward the more New Canaan, humanist, less absolute branch of the Connecticut Deconstructivist school. As an architect, Johnson is Seattle Central Library most widely Seattle, Washington respected for his work in the early 1950s. He altered his architectural principles from Modernist to Postmodernist to Anti-Postmodernist. He showed a keen interest in style and is remembered as a stimulator of ideas. RENZO PIANO - Born in Genoa, Italy in 1937. From 1959 to 1964 he studied at the Milan Sony Tower Politecnico, where he taught Formerly AT&T until 1968. In 1970, Piano Building. New York established a partnership with City. the English architect Richard Rogers. Centre Georges Pompidou takes its form from a metaphor of the 'cultural machine' with all colorcoded service elements and structure emphasized on the building's exterior.  The Shard worked with Eero Saarinen and Louis I. Kahn before he founded his own practice in 1958. In Also referred to as