Design Theory of Architecture Module 2 PDF

DESIGN THEORY OF ▪ Golden Section ▪ Regulating Lines ARCHITECTURE MODULE 2 ▪ Classical Orders ▪ Renaissance Theories...

DESIGN THEORY OF ▪ Golden Section ▪ Regulating Lines ARCHITECTURE MODULE 2 ▪ Classical Orders ▪ Renaissance Theories ▪ Modulor LESSON 1 ▪ Ken ▪ Anthropometry DESIGN Design: is the creation and organization of formal elements in a work of art. GOLDEN SECTION Design principle: is a fundamental and The Golden Section can be defined as comprehensive concept of visual the ratio between two sections of a line, perception for structuring and aesthetic or the two dimensions of a plane figure, composition. in which the lesser of the two is to the greater as the greater is to the sum of Proportion both. The proper harmonious relation of one part to another or to the whole. EXAMPLES: Parthenon Athens, Greece. Ictinus and Callicrates. PROPORTIONING SYSTEMS Tempietto, St.Pietro They can visually unify the multiplicity of Montorio, Rome. Donato Bramante. elements in an architectural design by having all of its parts belong to the same family of proportions. They can provide a sense of order in, and REGULATING LINES heighten the continuity of, a sequence of If the diagonals of two rectangles are spaces. either parallel or perpendicular to each other, they indicate that the two They can establish relationships between rectangles have similar proportions. the exterior and interior elements of a These diagonals, as well as lines that building. indicate the common alignment of elements, are called regulating lines. TYPES OF PROPORTIONING EXAMPLES: SYSTEMS World Museum Diastyle = 3 D Geneva. Le Corbusier Araeostyle = 4 D Palazzo Farnese Rome. Antonio da Sangallo the Younger RENAISANCE THEORIES The Pantheon The architects of the Renaissance, Rome believing that their buildings had to belong to a higher order, returned to the Villa Garches Greek mathematical system of Vaucresson, France. Le Corbusier proportions. Villa Foscari Seven Ideal Plan Shapes for Malcontenta, Italy. Andrea Palladio. Rooms. Andrea Palladio (1508–1580) was CLASSICAL ORDERS: probably the most influential architect of the Italian Renaissance. In The Four To the Greeks and Romans of classical Books on Architecture, first published in antiquity, the Orders represented in their Venice in 1570, he followed in the proportioning of elements the perfect footsteps of his predecessors, Alberti expression of beauty and harmony. The and Serlio, and proposed these seven basic unit of dimension was the “most beautiful and proportionable diameter of the column. manners of rooms.” CLASSICAL ORDERS: Determining the Heights of Rooms. ▪ Tuscan: (6 Diameters) ▪ Doric: (7 Diameters) Palladio also proposed several methods ▪ Ionic: (8 1/3 Diameters) for determining the height of a room so ▪ Corinthian: (8 1/3 Diameters) that it would be in proper proportion to ▪ Composite the room’s width and length INTERCOLUMNATION ▪ The height of rooms with flat ceilings would be equal to their Pycnostyle = 1 ½ D width. Systyles = 2 D Eustyle = 2 ¼ D ▪ The height of square rooms with vaulted ceilings would be one-third greater than their width. KEN: ▪ For other rooms, Palladio used The ken was introduced in the latter half Pythagoras’ theory of means to of Japan’s Middle Ages. determine their heights. Although it was originally used simply to EXAMPLES: designate the interval between two columns and varied in size, the ken was Villa Capra (The Rotunda) soon standardized for residential Vicenza, Italy. Andrea Palladio. architecture. Room sizes: 12 x 30, 6 x 15, 30 x 30 The size of a room is designated by the Palazzo Chiericati number of its floor mats. Vicenza, Italy. Andrea Palladio. 54 x 16 (18), 18 x 30, 18 x 18, 18 x 12 Palazzo Chiericati ANTHROPOMETRY: Vicenza, Italy. Andrea Palladio. Anthropometry refers to the 54 x 16 (18), 18 x 30, 18 x 18, 18 x 12 measurement of the size and proportions of the human body. Villa Thiene The dimensions of the human body also Cicogna, Italy. Andrea Palladio. affect the volume of space we require 18 x 36, 36 x 36, 36 x 18, 18 x 18, 18 x 12 for movement, activity, and rest. The fit between the form and dimensions of a space and our own body dimensions MODULOR: can be: Le Corbusier developed this ▪ Static; proportioning system to order “the ▪ Dynamic; or dimensions of that which contains and ▪ Based on social distances and that which is contained.” personal space. The basic grid consists of three measures, 113, 70, and 43 centimeters, SCALE: proportioned according to the Golden The size of something compared to a Section. reference standard or to the size of something else. “maintains the human scale everywhere.” Two types: differentiating its shape from that of the ▪ Visual scale; and other elements in the composition. ▪ Human scale. By Placement Visual Scale A form or space may be strategically It refers to how small or large something placed to call attention to itself as being appears to be in relation to its normal the most important element in a size or to the size of other things in its composition. context. Human Scale Human scale in architecture is based on PROXEMICS: the dimensions and proportions of the Proxemics is the study of the symbolic and human body. communicative role of the spatial separation individuals maintain in various social and interpersonal situations, and how HIERARCHY: the nature and degree of this spatial For a form or space to be articulated as arrangement relates to environmental and being important or significant to an cultural factors. organization, it must be made uniquely visible. Personal Space The variable and subjective distance at This visual emphasis can be achieved by which one person feels comfortable talking endowing a form or shape with: to another. Also called personal distance. ▪ exceptional size; ▪ a unique shape; or LEVELS OF DISTANCES ▪ a strategic location. ▪ Intimate Distance ▪ Personal Distance By Size ▪ Social Distance A form or space may dominate an ▪ Public Distance architectural composition by being significantly different in size from all the INTIMATE DISTANCE other elements in the composition. 0-18 inches (0-450mm) - Voluntarily selected gap between people by Shape who are drawn to each other. At this A form or space can be made visually close range, vision is distorted, and any dominant and thus important by clearly vocalization is a whisper, moan, or grunt. PERSONAL DISTANCE ▪ Sociopetal 18 inches to 4 feet (450 mm-1.20m) ▪ Sociofugal - The sense of body heat is lost. Eyesight begins to focus, and vocalization comes Sociopetal Space into play. Although only ritualized touch Spaces which tend to bring people is typical, the other person is still at arm’ together. s length, available to be grasped, held, or shoved away. Sociofugal Space Tend to keep people apart and SOCIAL DISTANCE discourage conversations. 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 LESSON 2 focus on an entire face. When the distance is more than eight feet, it’s OK VISUAL ACUITY AND to ignore another’s presence and it’s PERCEPTION easy to disengage from a conversation. PERCEPTION – is the process by which we PUBLIC DISTANCE organize and interpret the 10 feet to infinity (3 meters and beyond) patterns of stimuli in our environment, the This is the zone where we can no longer immediate intuitive recognition, as of an pick up subtle nuances of meaning from aesthetic quality. the face or tone of voice. The eye can take in the whole body at a glance. ACUITY – sharpness or keenness of It’s the distance of the lecture hall, mass thought, vision, or hearing. meetings, and interactions with powerful figures until such time as they bid you to SPATIAL PERCEPTION- The ability to be come closer. aware of your relationships with the environment around you and with yourself. Spatial Awareness is made up of two (2) SEMI-FIXEDFEATURE SPACE processes: Furniture arrangement in public places has a distinct relationship to the degree 1. Exteroceptive – which create of conversation. representations about our space through feelings – EXTERNAL SENSES 2. Interoceptive – which create PRINCIPLES IN PERCEIVING THE representations about our body , OBJECTS AND SHAPES like its position or orientation – INTERNAL SENSES FIGUREGROUND- A phenomenon wherein drawings consisting of black lines, any line SPATIAL PERCEPTION - which surrounds an area, is quickly picked out the observer, DISTANCE & SIZE and it seems to stand out from the background. SMALL/ NEAR VANITY- When you look at this figure from MEDIUM/ MIDDLE afar it looks so much like a skull but when LARGE/ FAR near, it clearly show a lady in front of a mirror. FLUCTUATION- Instances of fluctuation are VISION- is experienced through the eyes given by the phenomena of the but interpreted with the mind. alternating 'Figure' and 'Ground’ alternating perspective and retinal rivalry. STEREOSCOPIC The visual process creating an IMPOSSIBLE FIGURES/ GESTALT illusion of three-dimensional depth, making it possible to judge IDEAS OF VISUAL PERCEPTION distances. The visual process creating an - The Gestalt’s Principles are a set of illusion of three-dimensional laws depth, making it possible to judge describing how humans typically see distances. objects bygrouping similar elements, recognizing patterns, and simplifying complex KINESTHETIC images. (EVERYTHING IS VIEWED AS A The sensory input that occurs in WHOLE, NOT INDIVIDUAL PIECES.) the body that serves as feeling responsible for the correctness of a movement. GESTALT THEORY: Principles CLOSURE Preferring complete shapes, we automatically fill in gaps between elements to perceive a complete image; so, we see the whole first. PROXIMITY objects that are near or close to each other are perceived as a group SIMILARITY items that are similar to each other are perceived as a group. If there is an assortment of objects, we perceptually group the similar ones together. Similarity can occur in terms of shape, colour, texture or other qualities SYMMETRY The mind tries to see a center point in between the objects and tries to perceive objects as being symmetrical. LESSON 3 For this reason, when two symmetrical elements are separate, DESIGN PERCEPTION the mind perceptually connects SPACE- Space is the three-dimensional field them to form a familiar shape. in which objects and events occur and have relative positions and directions, especially CONTINUITY a portion of that field set apart in each Continuity principle states that if the instance or for a particular purpose. objects are aligned, they are perceived as a group and integrated SPACE RELATIONSHIPS- Spaces may be into a perceptual whole. related to each other in several fundamental ways: * Space within a space; * Interlocking spaces; * Adjacent spaces; and * Spaces linked by common space.  Lawrence House SPACE WITHIN A SPACE Sea Ranch, California. Moore - In this type of spatial relationship, the Turnbull/MLTW. larger, enveloping space serves as a three-dimensional field for the smaller space contained within it. EXAMPLES: SPACES LINKED BY A COMMON SPACE Moore House - Two spaces that are separated by distance California, US. Charles can be linked or related to each other by a Moore. third, intermediate, space. EXAMPLES: One-Half House INTERLOCKING SPACES John Hejduk. - An interlocking spatial relationship results from the overlapping of two spatial fields and the emergence of a zone of shared space. SPACIAL ORGANIZATION EXAMPLES: - Centralized Plan for St. Peter - Linear Second Version. Donato - Radial Bramante and Baldassare Peruzzi. - Clustered Villa at Carthage - Grid Tunisia. Le Corbusier CENTRALIZED - A centralized organization is a stable, ADJACENT SPACES concentrated composition that consists of - Adjacency is the most common type of several secondary spaces grouped around a spatial relationship. It allows each space to large, dominant, central space. be clearly defined and respond, each in its own way, to specific functional or EXAMPLES: symbolic requirements. Taj Mahal Agra, India. The spaces are individualistic in size, shape, Villa Farnese and form. The walls that enclose them Caprarola, Italy. Giacomo da Vignola. adapt their forms to accommodate the National Assembly Building differences between adjacent spaces. Dacca, Bangladesh. Louis Kahn. EXAMPLE: Chiswick House London, England. Lord Burlington and William Kent. LINEAR another. It often consists of repetitive, A linear organization consists essentially of cellular spaces that have similar functions a series of spaces. These spaces can be and share a common visual trait such as directly related to one another or inked shape or orientation. through a separate and distinct linear EXAMPLES: space. Yeni-Kaplica EXAMPLES: (Thermal Bath) Bursa, Turkey. Residential Palace of King Minos Expansion Knossos, Crete. St. Andrew’s University, Scotland. Rajarajeshwara Temple James Stirling. Thanjavur, India. Lloyd Lewis House St. Carlo alle Quattro Fontane Libertyville, Illinois. Frank Lloyd Rome. Francesco Borromini. Wright. RADIAL GRID - A radial organization of space combines - A grid organization consists of forms and elements of both centralized and linear spaces whose positions in space and organizations. It consists of a dominant relationships with one another are central space from which several linear regulated by a three-dimensional grid organizations extend radially. pattern or field. EXAMPLES: EXAMPLES: Guggenheim Museum Shodhan House Bilbao, Spain. Frank Gehry. Ahmedabad, India. Le Canberra Corbusier. Australia. Walter Burley Griffin. The Eixample Paris, France Barcelona, Spain. Ildefons France, Napoleon III and Georges- Cerdà. Eugène Haussmann. Eric Boissonnas H. F. Johnson House | House | Glass House Wingspread Wind Point, Wisconsin. New Canaan, Connecticut. Philip Frank Lloyd Wright. Johnson. CLUSTERED - A clustered organization relies on physical proximity to relate its spaces to one