Introduction Theory Of Architecture 1 PDF

Introduction Theory of Architecture 1 I. Activities of man - Desire for Preservation Archi- Great - Desire for Recognition Tekton- Builder...

Introduction Theory of Architecture 1 I. Activities of man - Desire for Preservation Archi- Great - Desire for Recognition Tekton- Builder - Desire for response - Desire for self-expression Architecture means Great Builder II. Influence of nature - Climate - Topography WHAT IS ARCHITECTURE? - Materials - Architecture is whatever Architects design. Architects Design INFLUENCES OF MAN - Space - Social Condition - Form - User-environment Interaction/User experience Period & Man’s Personality - Movement - Height of gothic revival during Vicotrian Era - Enclosure - Egyptian Architecture and Fashion - Center - Modern Contemporary - Periphery - GeometryVi - Structure, patterns, rhythm - Signs/wayfinding - Natural built interaction - Built social interaction - Social value - Materiality- constructability - Structure - Documentation - Quickness: change management - Integrated design ARCHITECTURAL KNOWLEDGE 3 Pillars of Design thinking - Utility -Commodity -Social - Structure -Firmness -Objective - Beauty -Delight -Subjective LESSON 2 LESSON 3 PRINCIPLES OF DESIGN ARTICULATION OF FORMS POINTS (CORNERS), PLANES (SURFACES), LINES Essentials of the structure (EDGES) 1. Visible and Invisible structures - Form (particular roof, windows, doors, walls, details) Differentiating adjacent surfaces - Major Horizontal - Major Vertical - with a change in material, color, texture, or 2. Visible and invisible structures - Volume pattern - Points (Vertices) - Planes (Surfaces) Developing the corner - Lines (Edge) - Solid - as a distinct linear element independent of the - Void surfaces Form (Visual Properties) Removing the corner Shape- true shape is more visible in front view - to physically separate adjacent planes. Size- Real dimensions of Form Lighting the form Scale – the size relative to other forms in its context - to create sharp distinctions of light and dark at its corners. Color- affects the visual weight of form - Corners of a form can be rounded and smoothed Texture- Surface characteristics of a form over to emphasize the continuity of its surfaces. Position- forms Location, relative to its environment or EDGES AND CORNERS visual field Orientation - forms location relative to the ground plane, A Slight deviation in the geometry of compass points or to the person viewing the form the adjoining planes makes the corner formally active in our visual field Visual inertia - degree of concentration and stability of a form 4 WAYS TO REINFORCE A CORNER’S CONDITION - Man's perspective/view VISUALLY - Our distance from the form - Lighting conditions 1. Introduce a separate and distinct element that is - Visual field surrounding the form independent of the surfaces it joins. Defines the edges of the adjoining planes and THE TRANSFORMATION OF FORMS becomes a positive feature of the form. dimensional transformation 2. De-emphasizing the corner by introducing an subtractive transformation opening at the corner; this weakens the additive transformation definition of the volume within the form and emphasizes the planar qualities of the surface. THE TRANSFORMATION OF FORMS ADDITIVE 3. Neither planes are extended; this condition deteriorates the form’s volume allowing interior 1. Centralized forms space to leak outward and reveals the surfaces as 2. Linear forms planes in space. 3. Radial forms 4. Rounding off the corner emphasizes the 4. Clustered forms continuity of a form’s surfaces, the compactness 5. Grid forms of its volume, and softness of its contour PLAN CONFIGURATIONS LESSON 4 DESIGN ELEMENTS, PRINCIPLES, & CONCEPT L – shaped configuration - generates a field of space from its corner outward. FUNDAMENTALS - A Corner as an independent element that - Elements joins two (2) linear forms together. - Principles - A Linear form that incorporated the corner in its - Considerations boundaries - Concept - Building with l-configuration to establish corner of its site PLANNING - Enclosed field of outdoor space to which its - Considerations interior spaces relate - Space Planning Parallel planes configuration – defines a volume of space ELEMENTS – lines between them that is axially oriented toward the open ends of the configuration VERTICAL - Represents dignity, formality, stability, and - To visually reinforce the spatial field, along the strength open ends of the configuration, the base plane is HORIZONTAL manipulated, or overhead elements are added to - Represents calm, peace, and relaxation the compositions. DIAGONAL - The spatial field can be visually expanded by - Represents action, activity, excitement, and extending the base plane beyond the open ends movements. of the configuration. CURVED - Represents freedom, the natural, having the U-shaped configuration – defines field of space that has appearance of softness, and creates a soothing an inward focus as well as an outward orientation. feeling or mood - Secondary zones are created when openings are ELEMENTS - colors introduced. - This configuration can be used in building forms - This design element can show the and organizations. difference between day & night, - U-shaped building can define forecourt for a light & dark, intensity and strength building’s approach, and a recessed entrance of the structure. This design within the volume of the building from itself element includes hue and saturation, color wheels, and color Four planes configuration – if openings are introduced at schemes. the corners of the space, the individual identity of the planes will be reinforced and encourage movement. Example: SAINT BASIL’S CATHEDRAL MOSCOW To achieve visual dominance within a space, or become its primary face (highlight, accent), one of the enclosing ELEMENTS – FORM & SHAPE planes can be differentiated from the others by its size, FORM: form, surface, articulation, or the nature of the openings - FORM: (3D) The shape and structure within it. of something as distinguished from its substance or material. - Use of tiles and other finishes - Combination of paints and other finishes - SHAPE: (2D) The two-dimensional contour that characterizes an object or area. SURFACE - TEXTURE, TONE, & COLOR Texture – usually associated with materials. Tone – or the creation of light and shade. Color – as distinguished from tone, results from the hues of the spectrum. ELEMENTS – SPACE PRINCIPLES – rhythm/REPETITION Repeated use of line, shape, color, - By incorporating the use of space texture or pattern in your design, you can enlarge or Types reduce the visual space. Regular rhythm Types Random rhythm - Open, uncluttered spaces Gradated rhythm - Cramped, busy spaces - Unused vs. good use of space PRINCIPLES – emphasis The feature in a design that attracts ELEMENTS – TEXTURE one’s eye – the focal point Emphasis can be achieved through SMOOTH SURFACE size, placement, shape, color, and/or - Reflects more use of lines light and therefore is a more intense color. PRINCIPLES – emphasis ROUGH SURFACE Location – The building is centered horizontally. - Absorbs more light Lines – All lines lead to the building including the and therefore appears darker horizon line, the stairway, and lines of trees. ELEMENTS – VALUE Shape – The building is a geometric shape which contrasts with the surrounding organic - The relative lightness or darkness of a color (natural) shapes and therefore stands out. - Methods Hue (Pure color without white and black) PRINCIPLES –proportion and scale Tint (with white) Tone (with gray) - Comparative relationships between elements in Shade (with black) a design with respect to size. * 3:5 ratio is known as the Golden Mean VISUAL DESIGN PRINCIPLES FIBONACCI SEQUENCE BALANCE RHYTHM PRINCIPLES – MOVEMENT EMPHASIS PROPORTION AND SCALE - Flow or feeling of action MOVEMENT PRINCIPLES – contrast CONTRAST UNITY - Noticeably different Can be created with PRINCIPLES - BALANCE Color Parts of the design are equally distributed to Proportion and scale create a sense of stability. Both physical and Shape visual balance exist. Texture Types Etc. Symmetrical or formal balance Asymmetrical or informal balance PRINCIPLES – unity Radial balance Vertical balance - Unity is achieved by the consistent Horizontal balance use of lines, color, material, and/or texture within a design. - Branding, Identity LESSON 5 Effect: exciting, stimulating PERCEPTION OF COLOR IN ARCHITECTURE Association: Positive: passionate, fervid, active, strong, warm Negative: intense, aggressive, raging, fierce, bloody HUMAN RESPONSE TO COLOR IS TOTAL – IT Character: Red is the most dominant and dynamic color. INFLUENCES US PSYCHOLOGICALLY AND The eye has to adjust focus, since the natural focal point PHYSIOLOGICALLY. of Color is a sensory perception, and as any red lies behind the retina. Consequently, red appears sensory perception, it has effects that closer are symbolic, associative, synesthetic, and than it is. emotional Ceiling: intruding, disturbing, heavy Walls: aggressive, advancing The impression of a color and the message Floor: conscious, alert it conveys is of utmost importance in creating the psychological mood or YELLOW ambiance that supports the function of a - denotes gayety; stimulating cheering - to the lazy, space upsetting to the nervous. - It is the most luminous color. The designer has the task of knowing how - Yellow also demands attention, and so, it is used in the reception of visual stimulation, its dangerous locations, such as the edge of a subway processing and evoked responses in platform to mark the hazard, while red used to be the conjunction with the hormonal system, color for firetrucks, yellow is now preferred. produces the best possibilities for the welfare of human beings. This is of utmost Effect: cheering importance in varied environments Association: Positive: sunny, cheerful, radiant, vital Faber Birren Negative: egocentric, glaring Father of Applied Color Psychology Character: When pure, yellow is the happiest of all Originator of OSHA colors (Occupational Safety colors. and Health Administration) In radiates warmth, cheerfulness, and inspiration and Established the profession of color consultants signifies enlightenment, and communication. (1936) Ceiling: light (towards lemon), luminous, stimulating Discovered the relationship of the fundamental Walls: warm (towards orange), exciting to irritating attributes pertaining to hues: shade, tint, and tone. (highly “The study of color is essentially a mental and saturated) psychological science, for the term color itself refers Floor: elevating, diverting to sensation.” ORANGE LEVELS IN SENSING AND EXPERIENCING - has a stimulating effect and should usually be COLORS: used in relatively small amounts. The occupant Biological Reaction to a Color Stimulus of an orange office, for instance will become ill Subconsciousness at ease after a short time and will leave it at Conscious Symbolism Association every opportunity. Cultural Influence Effect: exciting, stimulating, cheering Trends, Styles, Fashion Influences Association: Personal Relations Positive: jovial, lively, energetic, extroverted Negative: intrusive, blustering Character: Orange is less masculine than red. It has very RED few negative associations. However, it may appear cheap - It has an aggressive quality and is frequently or without vigor if low in saturation. associated with violence and excitement. Ceiling: stimulating, attention-seeking (medium red) suggests health and vitality Walls: warm, luminous (bright red) often has amorous connotations Floor: activating, motion-oriented BROWN PURPLE is sedative and soothing. It suggests a stately or - is restful and warming but should be combined melancholy atmosphere. with orange, yellow or gold because it could be - Cheerfulness or cowardice, cheapness. depressing if used alone. Effect: subduing Effect: subduing Association: Association: Positive: dignified, exclusive Positive: warm, secure, stable Negative: lonely, mournful, pompous, conceited Negative: oppressive, heavy Character: Purple is a mixture of red and blue (the two Character: There is a great difference between wood and colors that are psychologically most opposed). Purple brown paint. In certain institutions brown should be can avoided since it evokes fecal associations. Wood and appear delicate and rich, or unsettling and degenerate. stone on the other hand appear very comfortable, and Ceiling: disconcerting, subduing warm. Walls: heavy, overpowering Ceiling: oppressive and heavy (if dark) Floor: fleeting, magical Walls: secure and assuring if wood, much less so if paint Floor: steady, stable BLUE is peaceful and tranquil. It reduces excitability and GRAY therefore - suggests cold and is also depressing unless helps one to concentrate. combined Effect: retiring, relaxing with at least one livelier color. Association: Effect: neutral to calming Positive: calm, sober, secure, comfortable, noble Association: Negative: frightening, depressing, melancholy, cold Positive: neutral Character: Blue appears to be transparent, wet, cool, and Negative: boring relaxing. Opposite to red, blue will decrease a person’s Character: Gray fails to have much psychotherapeutic blood application. Thus, the current fashion of using it with pressure and pulse rate. various accent walls defies all logic. Ceiling: celestial, cool, receding (if light), heavy and Ceiling: shadowy oppressive Walls: neutral to boring (if dark) Floor: neutral Walls: cool and distant (if light), encouraging and space deepening (if dark) Floor: inspiring feeling of effortless movement (if light), substantial (if dark) WHITE - is cheerful, particularly when used with warm GREEN colors like red, yellow and orange. has a cooling quality and it acts as a sedative. Effect: disconcerning Effect: retiring, relaxing Association: Association: Positive: clean, crisp, bright Positive: tranquil, refreshing, quiet, natural Negative: empty, sterile Negative: common, tiresome, guilty Character: There are a lot of psychological and Character: Contrary to red, when looking at green the physiological justifications for not using white as a eye dominant color. focuses exactly on the retina, which makes green the Ceiling: empty, no design objections-helps diffuse light most sources and reduce shadows restful color to the eye. Green can symbolize nature but Walls: neutral to empty, sterile, without energy also mold and sickness. Floor: touch-inhibiting (not to be walked upon) Ceiling: protective, reflection on the skin can be unattractive Walls: cool, secure, calm, reliable, passive, irritating if glaring (electric green) Floor: natural (if not too saturated), soft, relaxing, cold (if towards blue PINK Color and illumination are probably the Effect: lively (bubble-gum pink), calming (light pink) most important of the visual elements. Association: Positive: lively, calming, intimate Color usage - educational Negative: too sweet, weak While a stimulating atmosphere is desirable in a teaching Character: Pink must be handled carefully. It is situation, care should generally considered feminine, but depends much on be exercised to prevent overstimulation, which may the nuance used (bubble-gum pink, or old rose) produce restlessness, tension and Ceiling: delicate, comforting fatigue over children and teaching staff. Walls: aggression-inhibiting, intimate, too sweet if not grayed down COLOR AS AN EXPRESSION ELEMENT OF Floor: too delicate, not used very often DESIGN BLACK Bezold effect Effect: ominous It describes how our perception of color is affected by its Association: surrounding color. Positive: deep, abstract The uniform color of a room Negative: dungeonlike, night, grief, death The effect of the visible size on color Character: Black is associated with oppressive Colors on a non-uniform background power, darkness, and the unknown. In architecture it The effect of color on form is often used to make something appear as receding, Depends on lightness, it can still be perceived as such as the HVAC in a ceiling. one color Ceiling: hollow to oppressive Movement; spreading effect; continuation of broken Walls: ominous, dungeonlike image Floor: odd, abstract Same color appears lighter or darker than the other It may or may not appear as bigger or smaller with Color usage - residential different background Colors used within the home must be tolerated by the whole family. If members of a family Color theory have tastes which differ widely, they may be satisfied by - Monochrome (one color plus black and white) selecting the colors of their own - Complimentary (two opposite colors plus black rooms. and white) - Analogous (three adjacent colors plus blck and Color usage - commercial white) The main objectives in determining the color scheme of - Split complimentary 9one color plus two other a commercial installation are to side its opposite color plus black and white) provide colors which are rich, definite, and harmonious - Double split complementary (two colors either which will be easy to live with, side of its opposite colors plus black and white) and which will contribute to the efficiency and well- - Triadic (three equivalent colors plus black and being of all who tenant the building. white) Color usage - industrial The kind of artificial light must be taken into consideration in the design of industrial interiors. It will depend largely upon the type of operation performed. It is equally important that the proper kind of light be used to avoid shadows and glare Color usage - institutional The interiors of institutions such as are carefully studied to provide the most favorable environment for patients, visitors and staff. The aim should be to provide an atmosphere that is friendly and inviting.