Theory of Architecture PDF

Welcome to... Theory of Architecture WEEK 3-4-5-6 Ar. Donna L. Alaras, UAP, RMP Shape, Form and Unity Form and Space: Unity of Opposites Our visual field normally consists of heterogenous elements that differ in shape, size, color or orientation. To better comprehend the structure of a visual...

Welcome to... Theory of Architecture WEEK 3-4-5-6 Ar. Donna L. Alaras, UAP, RMP Shape, Form and Unity Form and Space: Unity of Opposites Our visual field normally consists of heterogenous 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. Form and Space: Unity of Opposites White-on-Black or Black-on-White? Two Faces or Vase? Form and Space: Unity of Opposites In all cases, however, we should understand that figures, the positive elements that attract our attention, could not exist without a contrasting background. Figures and their background, therefore, are more than opposing elements. Together, they form an inseparable reality-a unity of opposites-just as the elements of form and space together form the reality of architecture. Form and Space: Unity of Opposites Various strategies for relating the form of a building to the space around it: A. Form a wall along an edge of its site and begin to define a positive outdoor space Form and Space: Unity of Opposites Horyu-ji Temple, Japan, commissioned by Prince Shotoku Form and Space: Unity of Opposites Various strategies for relating the form of a building to the space around it: B. Merge its interior space with the private outdoor space of a walled site Form and Space: Unity of Opposites Form and Space: Unity of Opposites Various strategies for relating the form of a building to the space around it: C. Enclose a portion of its site as an outdoor room and shelter it from undesirable climatic conditions Form and Space: Unity of Opposites Form and Space: Unity of Opposites Various strategies for relating the form of a building to the space around it: D. Surround and enclose a courtyard or atrium space within its volume-an introverted scheme Form and Space: Unity of Opposites Form and Space: Unity of Opposites Various strategies for relating the form of a building to the space around it: E. Stand as a distinct object in space and dominate its site through its form and topographical positioning-an extroverted scheme Form and Space: Unity of Opposites Form and Space: Unity of Opposites Various strategies for relating the form of a building to the space around it: F. Stretch out and present a broad face to address a view, terminate an axis, or define an edge of an urban space Form and Space: Unity of Opposites Form and Space: Unity of Opposites Various strategies for relating the form of a building to the space around it: G. Stand free within its site but extend its interior spaces to merge with private exterior spaces Form and Space: Unity of Opposites Form and Space: Unity of Opposites Various strategies for relating the form of a building to the space around it: H. Stand as a positive form in negative space Form and Space: Unity of Opposites Form Defining Space Horizontal Elements Defining Space Base Plane A horizontal plane laying as a figure on a contrasting defines a simple field of space. This field can be visually reinforced in the following ways: Elevated Base Plane A horizontal plane elevated above the ground plane establishes vertical surfaces along its edges that reinforce the visual separation between its field and the surrounding ground. Form Defining Space Depressed Base Plane A horizontal plane depressed into the ground plane utilizes the vertical surfaces of the lowered area to define a volume of space Form Defining Space Overhead Plane A horizontal plane located overhead defines a volume of space between itself and the ground plane Form Defining Space This surface articulation of the ground floor plane is often used in architecture to define a zone of space within a larger context. The examples on the facing page illustrate how this type of spatial definition can be used to differentiate between a path of movement of the places of rest, establish a field form from which the form of a building rises out of the ground, or articulate a functional zone within a one-room living environment. Form Defining Space Vertical Elements Defining Space Vertical Linear Elements -define the perpendicular edges of a volume of space. Single Vertical Plane Articulates the space on which it fronts Form Defining Space L-Shaped Plane An L-Shaped configuration of vertical planes generates a field of space from its corner outward along a diagonal axis Form Defining Space Parallel Planes define a volume of space between them that is oriented axially toward both open ends of the configuration Form Defining Space U-Shaped Plane defines a volume of space that is oriented primarily toward the open end of the configuration Form Defining Space Four Planes: Closure establish the boundaries of an introverted space and influence the field of space around the enclosure Visual Acuity and Perception WHat is..... VISUAL ACUITY Related to seeing or to the eyes Sharpness of keenness of thought, vision, or hearing WHat is..... VISUAL ACUITY The ability to see the fine detail. It is determined by two factors: (1) the viewing distance from the product; and (2) the smallest feature or space detectable by the eye The separation of two lines placed end to end can be perceived more readily than the separation of 2 lines placed side by side Acuity increases with the increase in intensity of illumination WHat is..... PERCEPTION The ability to see, hear, or become aware of something through the senses How the brain process visual information PERCEPTION Types of Perception Spatial Perception The ability to be aware of your relationships with the environment around you (exteroceptive processes) and with yourself is referred to as spatial perception (interoceptive processes). “Vision is experienced through the eyes, but interpreted through the mind.” PERCEPTION Two Types of Vision: Stereoscopic The ability to merge slightly different views into a single image. The visual process created the illusion of three- dimensional depth, allowing distances to be judged. PERCEPTION Two Types of Vision: Retinal Disparity Is the fact that your left and right fields of vision provide slightly different visual images when focusing on a single subject PERCEPTION Two Types of Vision: Kinesthetic Man experiences space in the movements of the eye from one part of a whole work of art to another. When we look at a two-dimensional surface, we experience space because we unconsciously try to organize its separate parts so that they can be seen as a whole. PERCEPTION Types of Perception Perception of Objects Objects can be perceived not only visually but by the sound of familiar voices, people can be recognized. In identifying objects, they may be touched and weighed in hand. If they are food objects, they maybe smelt and tasted. Thus, the observer may continue examining the object and placing together the various sensory impressions until he has made up his mind what it is. PERCEPTION Types of Perception Perception of Shapes The most important feature of a shape or object is its general outline or contour. Whenever we look at objects, they seem to be clearly outlined and demarcated from their background. With a solid object, the particular contour exhibited to us at any one moment varies with its position in space. PERCEPTION Principles in Perceiving the Objects and Shapes Figure Ground A phenomenon in which drawings consisting of black lines, any line that surrounds an area and is recognized as representing an object, is quickly picked out by the observer and appears to stand out from the background in an obvious manner PERCEPTION Principles in Perceiving the Objects and Shapes Vanity When you look at this figure from afar, it looks so much like a skull but when near, it clearly shows a lady in front of a mirror PERCEPTION Principles in Perceiving the Objects and Shapes Fluctuation The phenomena of the alternating ‘figure’ and ‘ground’ alternating perspective and the retinal rivalry provide examples of fluctuation. PERCEPTION Principles in Perceiving the Objects and Shapes Impossible Figures When three-dimensional forms are illustrated on two- dimensional surface. PERCEPTION Psychological Factors that affect the Accuracy of Shape Perception Visual Illusions have an effect because the observer’s perception is influenced by the inclusion of their parts in the overall pattern. GESTALT PRINCIPLES 1.PROXIMITY The principle, also known as “grouping,” is concerned with the effect produced when a set of elements collective presence becomes more meaningful than their presence as separate elements GESTALT PRINCIPLES 2. SIMILARITY Perception allows for the recognition of stimuli that physically resemble each other as being part of the same object The principles of similarity and proximity are frequently used in conjunction to form a Visual Hierarchy GESTALT PRINCIPLES 3. CLOSURE This refers to the mind’s tendency to see complete figures or forms even if a picture is incomplete. GESTALT PRINCIPLES 4. GOOD CONTINUATION When two or more objects intersect, people tend to perceive each object as a single uninterrupted object. This allows for the differentiation of stimuli even when they are visually overlapping. GESTALT PRINCIPLES 5. COMMON FATE Perception associates movement as part of the same stimulus when visual elements are seen moving in the same direction at the same rate (optical flow). This allows people to see moving objects even when other details (such as the color or outline of the object) are obscured. GESTALT PRINCIPLES 6. GOOD FORM The principle of a good form refers to the tendency to group forms of similar shape, pattern, color, and so on together. Even when the two forms clearly overlap, the human brain interprets them in such a way that people can distinguish between different patterns and/or shapes. Balance and Gravitational Curve Balance and Gravitational Curve Balance Is the state of equilibrium Offers stability and structure to the design by positioning the pieces that such that the visual weight i.e. the symmetry is distributed Satisfies the eye with reference to the relative importance of the various parts of design Can be achieved through the use of color, shape, space, texture and other design elements Axis Imaginary and not visible demands balance Means of organizing forms and spaces in Architecture Qualities of length, width and induces movement along its path Balance and Gravitational Curve 3 Types of Balance 1. Symmetrical A. Centralized Central Axis - the simplest and easiest balance kind in which the parts are placed on each side of the central axis or line in exactly the same way Balance and Gravitational Curve 3 Types of Balance 1. Symmetrical B. Formal Type Symmetry Approaches absolute symmetry. General mass and grouping may appear similar but there are dissimilarities in plan, elevations or details Balance and Gravitational Curve 3 Types of Balance 1. Symmetrical C. Radial Type Symmetry Characterized where all parts radiate from a center Balance and Gravitational Curve 3 Types of Balance 2. Unsymmetrical/ Asymmetrical Balance Subtle and elusive difficult to attain informal grouping of shapes in attempt to satisfy the eye’s instinctive need to observe balance without making effort to place equal masses at similar distances National Congress, Brazil by Oscar Niemeyer Vanna Venturi House, US by Robert Venturi Balance and Gravitational Curve Gravitational Curve Complete adaptation to surroundings Emphasizes picturesqueness instead of symmetry Results freely rely on natural surroundings instead of man-made structures The Colosseum, Rome Balance and Gravitational Curve Gravitational Curve Balance and Gravitational Curve Gravitational Curve Balance and Gravitational Curve Rhythm Refers to the repetition of elements like colors, forms, shapes, and lines and unstructured movement in time and space. Balance and Gravitational Curve 2 Types of Rhythm 1. Unaccented Rhythm if equally spaced windows are introduced on the unbroken wall, then regular repetition is present Balance and Gravitational Curve 2 Types of Rhythm 2. Accented Rhythm if the openings or details are arranged in such a manner that some are more important than others, then the eye grasps the significance of this relationship and pauses longer in contemplating the larger elements  Assignment Roam around inside or outside of campus. Take a photo that represents gravitational curve. Select one subject and use 3 settings in your camera lens. (0.5 or 0.6/ 1/ 2/ 4) Apply the principle of balance or rythm Should be 3 photos in total Combine the 3 photos in a single page. Add notes in your own words (at least 3 sentences) on how the surroundings affect your subject. Due on Next Meeting  See you next lesson Reference Book: Form, Space and Order by Francis DK Ching Third Edition Balance and Gravitational Curve Presentation by Alan Zasper Zamora