Theory of Architecture - M2 PDF

THEORY OF ARCHITECTURE – M2 dimensions of a plane figure, in which the lesser proportions. These diagonals, as well as lines that of the two is to the greater as the greater is to indicate the common alignment of elements, are...

THEORY OF ARCHITECTURE – M2 dimensions of a plane figure, in which the lesser proportions. These diagonals, as well as lines that of the two is to the greater as the greater is to indicate the common alignment of elements, are DESIGN - Proportion and Scale, Hierarchy, & the sum of both. called regulating lines. Proxemics The Greeks recognized the dominating role the Ex. Design is the creation and organization of formal Golden Section played in the proportions of the elements in a work of art. Design principle is a human body. - World Museum (Geneva. Le Corbusier.) fundamental and comprehensive concept of - Palazzo Farnese (Rome. Antonio da Sangallo visual perception for structuring and aesthetic Renaissance architects also explored the Golden the Younger.) composition. Section in their work. - The Pantheon (Rome) - Villa Garches (Vaucresson, France. Le Topic Outline: In more recent times, Le Corbusier based his Corbusier.) Modulor system on the Golden Section. - Villa Foscari (Malcontenta, Italy. Andrea - Proportion and Scale - Hierarchy Ex. Palladio.) - Proxemics - Parthenon (Athens, Greece. Ictinus and Callicrates.) ▪ Classical Orders The proportioning begins by fitting the To the Greeks and Romans of classical Proportion and Scale facade into a Golden Rectangle. Each antiquity, the Orders represented in their PROPORTION analysis then varies from the other in its proportioning of elements the perfect approach to proving the existence of the expression of beauty and harmony. The The proper harmonious relation of one part to Golden Section and its effect on the basic unit of dimension was the another or to the whole dimensions and distribution of elements diameter of the column. across the facade. PROPORTIONING SYSTEMS o Tuscan They can visually unify the multiplicity of The proportioning begins by fitting the o Doric elements in an architectural design by having all facade into a Golden Rectangle. Each o Ionic of its parts belong tothe same family of analysis then varies from the other in its o Corinthian proportions. approach to proving the existence of the o Composite Golden Section and its effect on the They can provide a sense of order in, and dimensions and distribution of elements Classification of Temples according to their heighten the continuity of, a sequence of spaces. across the facade. intercolumniation. Vitruvius’ rules for the - Tempietto, St. Pietro (Montorio, Rome. diameter, height, and spacing of columns. They can establish relationships between the o Pycnostyle – 1 1/2 Dia exterior and interior elements of a building. Donato Bramante.) o Systyle – 2 Dia o Eustyle – 2 ¼ Dia ▪ Regulating Lines o Diastyle – 3 Dia ▪ Golden Section o Araeostyle – 4 Dia If the diagonals of two rectangles are either The Golden Section can be defined as the ratio parallel or perpendicular to each other, they between two sections of a line, or the two indicate that the two rectangles have similar xoxo, leanne (eimaigoiteia). ▪ Renaissance Theories o For other rooms, Palladio used designate the interval between two Pythagoras’ theory of means to columns and varied in size, the ken was The architects of the Renaissance, determine their heights. soon standardized for residential believing that their buildings had to architecture. belong to a higher order, returned to the Ex. Greek mathematical system of The ken evolved into an aesthetic proportions. o Villa Capra (The Rotunda) module that ordered the structure, Vicenza, Italy. Andrea Palladio. materials, and space of Japanese Seven Ideal Plan Shapes for Rooms. Room sizes: 12 x 30, 6 x 15, 30 x 30 architecture. o Palazzo Chiericati o Circle Vicenza, Italy. Andrea Palladio. The tokonoma is a shallow, slightly o Square 54 x 16 (18), 18 x 30, 18 x 18, 18 x 12 raised alcove for the display of a o 1:√2 o Villa Thiene kakemono or flower arrangement. As the o 3:4 Cicogna, Italy. Andrea Palladio. spiritual center of a traditional Japanese o 2:3 18 x 36, 36 x 36, 36 x 18, 18 x 18, 18 x house, the tokonoma is located in its o 3:5 12 most formal room. o 1:2 The size of a room is designated by the Andrea Palladio (1508–1580) was ▪ Modulor number of its floor mats. probably the most influential architect of the Italian Renaissance. In The Four Le Corbusier saw the Modulor as a Because of their 1:2 modularity, the floor Books on Architecture, first published in system of measurements that could mats can be arranged in a number of Venice in 1570, he followed in the govern lengths, surfaces, and volumes, ways for any given room size. And for footsteps of his predecessors, Alberti and “maintain the human scale each room size, a different ceiling height and Serlio, and proposed these seven everywhere.” is established according to the following: “most beautiful and proportionable height of the ceiling (shaku), measured manners of rooms.” Ex. from the top of the frieze board = number o Unité d’Habitation of mats x 0.3. Determining the Heights of Rooms. Marseille, France. Le Corbusier. In a typical Japanese residence, the ken Palladio also proposed several methods grid orders the structure as well as the for determining the height of a room so Le Corbusier used these diagrams to additive, space-to-space sequence of that it would be in proper proportion to illustrate the diversity of panel sizes and rooms. the room’s width and length. surfaces that could be obtained with the proportions of the Modulor. The relatively small size of the module o The height of rooms with flat ceilings allows the rectangular spaces to be would be equal to their width. freely arranged in linear, staggered, or o The height of square rooms with vaulted ▪ Ken clustered patterns. ceilings would be one-third greater than their width. The ken was introduced in the latter half of Japan’s Middle Ages. Although it was originally used simply to xoxo, leanne (eimaigoiteia). ▪ Anthropometry Two types: Anthropometry refers to the measurement of ▪ Visual scale Hierarchy the size and proportions of the human body. It is predicated on the theory that forms It refers to how small or large something The articulation of the importance or significance and spaces in architecture are either appears to be in relation to its normal of a form or space by its size, shape, or placement containers or extensions of the human size or to the size of other things in its relative to the other forms and spaces of the body and should therefore be context. organization. determined by its dimensions. Ex. For a form or space to be articulated as Average dimensions must always be treated with being important or significant to an - Reims Cathedral (Reims, France.) caution since variations from the norm will organization, it must be made uniquely The recessed entry portals of Reims always exist due to the difference between men visible. Cathedral are scaled to the dimensions and women, among various age and racial groups, This visual emphasis can be achieved by of the facade and can be seen and even from one individual to the next. endowing a form or shape with: recognized at a distance. As we get closer, A special field that has developed from a concern however, we see that the actual entrances o exceptional size; with human factors is ergonomics—the applied are really simple doors within the larger o a unique shape; or science that coordinates the design of devices, portals and are scaled to our dimensions, to o a strategic location. systems, and environments with our a human scale. physiological and psychological capacities and requirements. by Size ▪ Human scale The dimensions of the human body also A form or space may dominate an affect the volume of space we require for Human scale in architecture is based on architectural composition by being movement, activity, and rest. The fit between the the dimensions and proportions of the significantly different in size from all the form and dimensions of a space and our own human body. other elements in the composition. body dimensions can be: Normally, this dominance is made visible Human Scale Of a room’s three dimensions, its by the sheer size of an element. o ▪Static; height has a greater effect on its scale than o Dynamic; or either its width or length. Ex. Savannah (Georgia. James Oglethorpe.) o Based on social distances and personal In addition to the vertical dimension of a space. space, other factors that affect its scale are: by Shape SCALE Scale refers to how we perceive or judge o ▪ the shape, color, and pattern of its A form or space can be made visually the size of something in relation to bounding surfaces; dominant and thus important by clearly something else. In dealing with the issue o ▪ the shape and disposition of its differentiating its shape from that of the of scale, therefore, we are always openings; and other elements in the composition. A comparing one thing to another. o ▪ the nature and scale of the elements discernible contrast in shape is critical, placed within it. xoxo, leanne (eimaigoiteia). whether the differentiation is based on a LEVELS OF DISTANCES SEMI-FIXED FEATURE SPACE change in geometry or regularity Intimate Distance - 0-18 inches (0-450mm). Furniture arrangement in public places Ex. Plan of Montfazier (France.) A medieval town Voluntarily selected gap between people has a distinct relationship to the degreeof founded in 1284. who are drawn to each other. At this conversation. close range, vision is distorted and any vocalization is a whisper, moan, or grunt. o Sociopetal Space - Spaces which tend to bring people together. by Placement Personal Distance - 18 inches to 4 feet (450mm- o Sociofugal Space - Tend to keep people A form or space may be strategically 1.20m) apart and discourage conversations. placed to call attention to itself as being The sense of body heat is lost. Eyesight the most important element in a begins to focus, and vocalization comes composition. into play. Although only ritualized touch Visual Acuity & Perception is typical, the other person is still at arm’ Ex. s length, available to be grasped, held, or PERCEPTION - Villa Trissino (Vicenza, Italy. Andrea Palladio.) shoved away. is the process by which we organize and interpret - Florence Cathedral (Florence, Italy.) Social Distance - 4 to 10 feet (1.20m - 3.00m) the patterns of stimuli in our environment, the - Legislative Assembly Building (Chandigarh, This is the zone of impersonal immediate intuitive recognition, as of an India. Le Corbusier.) transaction. We now have to rely solely aesthetic quality. on what we can see and hear. By the middle of the range, the eye can ACUITY Proxemics focus on an entire face. When the sharpness or keenness of thought, vision, or distance is more than eight feet, it’s OK hearing. Proxemics is the study of the symbolic and to ignore another’s presence and it’s communicative role of the spatial separation easy to disengage from a conversation. individuals maintain in various social and interpersonal situations, and how the nature and Public Distance - 10 feet to infinity (3 meters and SPATIAL PERCEPTION degree of this spatial arrangement relates to beyond) The ability to be aware of your relationships with environmental and cultural factors. This is the zone where we can no longer the environment around you and with yourself. pick up subtle nuances of meaning from the face or tone of voice. The eye can Spatial Awareness is made up of two (2) Personal Space take in the whole body at a glance. processes: It’s the distance of the lecture hall, mass 1. Exteroceptive – which create representations The variable and subjective distance at which meetings, and interactions with powerful about our space through feelings – EXTERNAL one person feels comfortable talking to another. figures until such time as they bid you to SENSES Also called personal distance. come closer. xoxo, leanne (eimaigoiteia). 2. Interoceptive – which create representations so much like a skull but when near, it clearly objects that are near or close to each other about our body, like its position or orientation – show a lady in front of a mirror are perceived as a group INTERNAL SENSES FLUCTUATION  SIMILARITY DISTANCE & SIZE Instances of fluctuation are (When objects look similar to one another, given by the phenomena of the - small; near the eye perceives them as a group or alternating 'Figure' and 'Ground’ alternating - medium; middle pattern) perspective and retinal rivalry. - large; far Items that are similar to each other are perceived as a group. If there is an GESTALT IDEAS OF VISUAL PERCEPTION assortment of objects, we perceptually Vision - experienced through the eyes but group the similar ones together. Similarity The Gestalt’s Principles are a set of laws can occur in terms of shape, colour, texture interpreted with the mind. describing how humans typically see objects by or other qualities grouping similar elements, recognizing STEREOSCOPIC patterns, and simplifying complex images.  SYMMETRY The visual process creating an illusion of three- Designers use these to engage users via (We seek balance and order in designs, dimensional depth, making it possible to judge powerful yet natural “tricks” of perspective and struggling to do so if they aren’t readily distances. best practice design standards. apparent) The mind tries to see a center point in KINESTHETIC Gestalt’s theory focuses on the mind’s between the objects and tries to perceive The sensory input that occurs in the body that perceptive processes. objects as being symmetrical. serves as feeling responsible for the correctness For this reason, when two symmetrical of a movement. EVERYTHING IS VIEWED AS A WHOLE, elements are separate, the mind NOT INDIVIDUAL PIECES. perceptually connects them to form a PRINCIPLES IN PERCEIVING THE OBJECTS AND familiar shape. SHAPES GESTALT THEORY: Principles The similarities between symmetrical objects facilitate grouping them to form a FIGUREGROUND  CLOSURE combined symmetrical object. A phenomenon wherein drawings (When an object is incomplete or not consisting of black lines, any line completely enclosed)  FIGUREGROUND which surrounds an area, is Preferring complete shapes, we (When the eye differentiated an object from quickly picked out the observer, automatically its surroundings area) and it seems to stand out from the fill in gaps between elements to perceive a When the eye differentiates an object from background. complete image; so we see the whole first. its surrounding area. Ex. Fort Worth Museum, Ex. China Central Television HQ, Beijin USA VANITY  PROXIMITY When you look at this figure from afar it looks (When objects placed together, the eye perceives them as a group) xoxo, leanne (eimaigoiteia).  CONTINUITY (The eye is compelled to move from one ovject through another) Continuity principle states that if theobjects are aligned, they are perceived as a group and integrated into a perceptual whole. If there is an intersection between objects, people perceive the two objects as two single uninterrupted objects. Ex. Argul Weave by BINAA + Smart Architecture, Turkey xoxo, leanne (eimaigoiteia).