Theory Of Architecture 1 PDF

lOMoARcPSD|45991212 Theory-OF- Architecture Theory Of Architecture 1 (Technological Institute of the Philippines) Scan to open on Studocu Studocu is not sponsored or endorsed by any co...

lOMoARcPSD|45991212 Theory-OF- Architecture Theory Of Architecture 1 (Technological Institute of the Philippines) Scan to open on Studocu Studocu is not sponsored or endorsed by any college or university Downloaded by Jullanah Faye Calderon ([email protected])  lOMoARcPSD|45991212 THEORY OF ARCHITECTURE Marcus Vitruvius Pollio Roman architect; wrote the oldest research in ARCHITECTURE architecture “Ten books on Architecture” (De - art and science of designing & constructing buildings Architectura libri decem) and other physical structures Said that a good building should satisfy/ strive to - also used for the profession of providing architectural fulfill 3 principles as possible: services 1. firmitatis – durability/ strength - from latin architectura; greek arkitekton “master builder” 2. utilitatis – function / utility 3. venustatis – beauty ARCHITECTURE THEORY - aid/support architectural work and improve the finished ELEMENTS OF DESIGN product 3. LINE - for better and more efficient design process Mary Davis Gillies - “All design or composition begins with - basis of knowledge for design skills line. Line encloses spaces, outline masses, and are the basis of surface ornament.” It is said that when you have THEMATIC THEORIES learned to analyze and understand the meaning Paradigm (=style) of Basic presentation of its conveyed by lines, the first step to mastery of design has architecture: theory: been accomplished. Doric, Ionian and Vitruve: De Architectura libri Corinthian style and decem. It was mainly Lines, through association, have come to assume their varieties in documentation of earlier emotional and aesthetic significance. ancient Greece and architectural traditions. BOLD LINES gives a feeling of strength and Rome determination. FINE LINES look fragile and delicate. Romanesque and Medieval anonymous tradition Gothic styles. of trade guilds has not survived “A straight line is a shortest distance between two to us; minor fragments are the points. following: Villard de Since it can be drawn by a ruler, a straight line Honnecourt and signifies : simplicity and directness, strength and Schmuttermayer. virility, restraint and discipline, formality and Renaissance, Alberti: De re Aedificatoria. artificiality. baroque, rococo, neo- Serlio, Vignola, Palladio... classical style VERTICAL – lead the eye upward gives a feeling of austerity and spiritual uplift. Large constructions: Galilei: Discorsi e dimostrazioni bridges and halls. matematiche intorno a due HORIZONTAL – unconsciously remind us of the "Structuralist" styling nuove scienze. Hooke, horizon and of our bodies while we are asleep, (=which emphasizes Bernoulli, Euler... therefore, suggests repose and serenity. the structure). l'Art Nouveau. Viollet-le-Duc: Entretiens sur COMBINATION gives an expression of strength, Personal styles of l'Architecture. The book power, and energy. architectural geniuses: showed logical basis for new Gaudi, Le Corbusier form languages but it did not etc. create them yet. Notice also slanting from left to right lead the eye forward, Owen Jones and John Ruskin. suggest force and activity slanting from right to left lead the eye backward Functionalism. The teaching of Gropius and and suggest lack of stability Bauhaus. Adolf Loos. Neufert (1936): Bauentwurfslehre impression of stability, permanence and finality Systems Building from The lectures and exemplars prefabricated given by Mies van der Rohe impression of restlessness and agitation, as components and others. Habraken. though an action has been suspended Ecological architecture Eco-philosophy by Henryk (energy collectors etc) Skolimowski was one of the curved lines are lines of nature pioneering works. suggest lightness and freedom, gaiety and relaxation, grace and informality Symbolic architecture. Norberg-Schulz: Intentions in Architecture, Jencks... Postmodernism and Robert Venturi: Complexity and 2. FORM Deconstruction Contradiction in Architecture The shape and structure of an object If it is 2 dimensional, it is a PLANE. Downloaded by Jullanah Faye Calderon ([email protected])  lOMoARcPSD|45991212 If it is 3 dimensional, it is a SOLID. Analogous – one of two or three closely related colors on a color wheel Form is defined by lines. Triad – a combination of three colors forming an equilateral triangle on a color wheel The eye immediately grasps when parts Split complementary – a combination of one color and the of the shapes are of the same length and pair of colors adjoining its complementary color on a color no movement is suggested wheel Double Complementary – a combination of two analogous If shapes are obviously multiples of colors and their complementary colors on a color wheel squares or cubes, they are monotonous Monochromatic – having only one color or exhibiting varying intensities and values of a single hue If shapes have some parts longer than Polychromatic – having or exhibiting a variety of colors the others, the eye is carried along the length of the space or object thereby not The value of a color may be changed by adding black or making the shape interesting. white. Shades – produced by mixing black with normal hues Proportions are a great factor in Tints- produced by mixing white. shapes. If the length is more unrelated and incomparable to the width, the shape is not so pleasing to look at. 5. VALUE. For practical purposes: BLACK – lowest dark 0-10% 3. TEXTURE LOW DARK – 10-20% The character of a surface - whether it is smooth, rough, DARK – 20-30% shiny, course, fine. HIGH DARK – 30-40% MEDIUM – 40-50 % Texture has a tactile quality- which means one will know LOW LIGHT – 50-60% from association the feel of the surface without actually LIGHT – 60-70% touching it. HIGH LIGHT – 70-80% WHITE – highest light – 80-90% Texture also has an emotional significance, through 100% - none because surfaces always absorbs a association. portion of the light that strikes it. A course texture suggests ruggedness and rusticity, The proper manipulation of values is one of the directness and strength, informal living and closeness to means wherein he gives an illusion of depth and the earth. distance. A fine texture suggests refinement and sophistication, 6. SPACE elegance and finish, formality and efficiency. 7. LIGHT 4. COLOR BASIC PRINCIPLES OF COMPOSITION OF SPACE When white light or a narrow beam of sunlight passes DIMENSION I. CONTRAST Variety through a prism, it splits into a multi-colored beam, known II. PROPORTIO Relationships as the spectrum. It is composed of the wavelength of N Size colors ROY-G-BIV. There are other colors, but their III. SCALE wavelength is longer than those of red or shorter than GRAVITATIONA IV. BALANCE Equilibrium those of violet. L CURVES Light can also be broken up by absorption or reflection. If HEIRARCHY V. RHYTHM Repetition an object absorbs all the light, it is black (lack of all VI. UNITY Harmony color). If it reflects all the light, it is white (presence of all VII. Expressivenes colors). That is why according to scientists; black and CHARACTER s white are not really colors. Color has three qualities: I. CONTRAST 1. Hue – quality which names colors -show difference when compared 2. Value – amount of light -to oppose, to resist 3. Intensity – brightness of color THE COLOR WHEEL Primary Colors – those that cannot be broken down and from which other hues can be mixed Typical contrast Secondary – obtained by mixing 2 primaries 1. contrast of form Tertiary – further intermixing the colors 2. contrast of line Complementary – opposite each other in the chromatic 3. contrast of size scale. When using this, the most intense contrast can be 4. contrast of tone achieved. Downloaded by Jullanah Faye Calderon ([email protected])  lOMoARcPSD|45991212 CONTRAST in Architectural Subject: a. Central Axis 1. Contrast in MASS b. Formal 2. Contrast in DIRECTION c. Radial 3. Contrast in CHARACTER 2. UNSYMMETRICAL 4. Contrast in TREATMENT 3. GRAVITATIONAL or PICTURESQUE V. RHYTHM II. PROPORTION - organized movements -comparison which the eye makes between the Size, - elements (some parts) recur regularly Shape, & Tone of various objects or parts of a - regular or harmonious recurrence of lines, shapes, forms composition or colors -mathematical relationship using real dimensions - In architecture, it is used as a device to organize forms and spaces Based on: 2 KINDS OF RHYTHM 1. Natural material proportion 1. UNACCENTED RHYTHM 2. Manufactured proportion 2. ACCENTED RHYTHM 3. Mode of Construction or structural proportion – repetition of same elements 4. Requirement of program, function and government ordinances *Rhythm may be one of the following: 5. Traditions and generally accepted taste a. rhythmic use of color b. rhythmic use of line III. SCALE c. rhythmic use of motion -fixed proportion used in determining measurements and d. rhythmic use of direction dimensions -deals with the relation of space or architectural motifs as VI. UNITY compared to other forms (or to the human figure) - state of being one - well organized (all unimportant parts must be kept in In Architecture, 2 Types: their places and serve only to assist the major units 1. Generic Scale – size of a building relative to other forms in context 7 ways of producing UNITY 2. Human Scale – size of a building relative to 1. Existence of a focal point. dimensions and proportion of the human body 2. Domination of major masses over lesser ones. 3. Introduction of an emphasis. Factors that affect scale: 4. Formation of a compact and coherent ensemble. 1. Normal requirements of human beings 5. Limitation of treatment. 2. sizes of familiar materials 6. Selection of details, materials in harmony with 3. beauty or appearance the basic idea. 4. character 7. Selection of styles, furniture, furnishings in 5. function or purpose harmony with the surroundings. 6. location or visual distance 7. economics *HEIRARCHY Achieved through: SCALE TYPES: 1. Exceptional Size Intimate 2. Unique shape Normal 3. Strategic location Monumental a. termination Shocking b. centerpiece c. offset IV. BALANCE d. focus of radial organization - gravitational equilibrium in a single unit or space - feeling of equality in weight, attention or attraction VII. CHARACTER - pair of objects arranged with respect to an AXIS or - external expression of internal qualities FULCRUM - distinguishing feature - In Architecture, it is achieved when all parts are equally derived from 3 types: distributed around a central point 1. character from FUNCTION -use 3 TYPES OF BALANCE in the study of composition 1. SYMMETRICAL - human quality or emotional appeal 2. character from ASSOCIATION. - influence or traditional type ANTHROPOMETRICS 3. character from PERSONALITY. - study of human body measurements / dimensions Downloaded by Jullanah Faye Calderon ([email protected])  lOMoARcPSD|45991212 ANTHRO – man SPACE METRIC – measurements - measurement of size and proportions of the body; -a limitless area in which all things exist and move objectively and scientifically obtained - tangible basis for producing man-machine relationships Man’s action 🡪 spatial aspect 🡪 space concept ERGONOMICS EXPRESSIVE/ ARTISTIC SPACE – space created to - application of elements to produce a desired effect express the structure of his world. - study of workplace design: how a workplace and the equipment used there can best be designed for AESTHETIC SPACE – space concept needed by COMFORT, EFFICIENCY, SAFETY & EASE OF USE expressive space to systematize its properties. Gk. ERGON – work NOMOI – natural laws SPATIAL QUALITIES - measurements of man implemented to accommodate Compartmentalized him to machines Regular Amorphous PROXEMICS Integrated -coined by Edward T. Hall Segregated - study of personal space - study of the distance individuals maintain between SPACE TO SPACE RELATIONSHIP each other in social and its significance 1. Space within a space a large space enveloping a smaller space PERSONAL SPACE *4 DISTICNT TERRITORIAL CATEGORIES enclosed space should be proportional to the large space 1. PUBLIC 2. Interlocking space – individual has freedom of access but not of action 3 Possibilities 2. HOME a. shared - regular participants have freedom of behavior and b. merged with one space sense of control over an area c. interlocking portion can develop its own integrity 3. INTERACTIONAL - areas where social gatherings may occur 3. Adjacent space 4. BODY Ways of separating spaces - area immediately surrounding the body a. limit visual & physical access -reinforce individuality of each space *4 DISTANCE ZONES b. use columns 1. INTIMATE DISTANCE c. change level - involvement with another body a. CLOSE PHASE – protecting, wrestling 4. Space linked by a common space b. FAR PHASE – 0.15 to 0.45m Ways of linking 2. PERSONAL DISTANCE a. immediate space differ in form a. CLOSE PHASE – 0.45 to 0.75m b. same sizes & shapes of adjacent & intermediate b. FAR PHASE – 0.75 to 1.20m space c. linear in form to link distant spaces 3. SOCIAL DISTANCE d. intermediate space can dominate - limit of domination FIVE WAYS TO ARRANGE AND ORGANIZE SPACE a. CLOSE PHASE – 1.20 to 2.10m 1. Centralized b. FAR PHASE – 2.10 to 3.60m 2. Linear 4. PUBLIC DISTANCE 3. Radial a. CLOSE PHASE – 3.60 to 7.50m 4. Clustered b. FAR PHASE – 7.50 and more 5. Grid 9.00m – distance automatically set around important public figures SPACE ARTICULATION 1. Elevating a portion TERRITORIALITY 2. Space within a space -space living beings call their own 3. edges change in form, color, texture DEFENSIBLE SPACE 4. depressing a portion - architectural interpretation of territoriality and personal 5. ceiling plane space 6. vertical plane KINESTHETIC QUALITY OF SPACE Downloaded by Jullanah Faye Calderon ([email protected])  lOMoARcPSD|45991212 -space has to have movement and depend on 2. Desire for recognition – prestige, pride & movement ambition 3. Desire for response – love, friendship, sociability SEMANTICS -study of meanings 4. Desire for self-expression *KINDS OF MEANING The "hierarchy of needs" suggested by Abraham Maslow 1. SIGNS & SIGNALS (1954) has often served as a model. Pertti Vuorela Sign – a notice publicly displayed for advertising (1970) has tried to outline a sequence of the goals of purposes for giving direction or warning building. His proposal lists first the critical needs and 3 MAIN TYPES then the other, less and less significant needs which a. INDEXICAL SIGN become important only when the first mentioned ones -existential relation between signifier and signified are satisfied: Index – representation which refers to the object it denotes because it establishes a connection 1. Physiological needs: Dwelling and its between the object and the senses/ memory of the equipment. Shops. Health services. Privacy. Air. person for whom it acts as a sign Sunlight. Heating. b. ICONIC SIGN 2. Needs of security: Traffic hazards. Police, fire Icon - sign which refers to the object it denotes by guard etc. Risk of unemployment. virtue of certain characters of its own and which Communications. Absence of excessive noise. possesses just the same, whether any such object Hygienic conditions of the area. View out of the actually exist or not; a word or sign that stands for windows. Contacts to nature. something else, e.g. the Roman numeral "II" 3. Need to belong and be accepted in a group: representing the number two Social values prevalent in the area. Physical c. SYMBOLIC SIGN distance between dwellings. Functional distance - conventional usage sets the arbitrary relation between dwellings. Segmentation of leisure between signifier and signified time. The social organizations. 4. Need of self-fulfillment: Possibility to spend 2. SYMBOLS leisure time in the area. Timing of free time. different symbols on architectural plans "Democracy" of the area. REPRESENTATION – visual depiction – 5. Cognitive and aesthetic needs: How easy it is drawing to find your way in the area. Schools. COPY - something that is made exactly like Communications. something else in appearance or function – model REPLICA – an accurate reproduction – copy DESIGN PROBLEM with the same size Categories of Concern Checklist 1. FUNCTION 3. EXPRESSION 2. SPACE Whenever best expressions are met, the experience 3. GEOMETRY tends to be that of a piece of architecture 4. CONTEXT 5. ENCLOSURE CONCEPTUALIZATION TECHNIQUES OF 6. SYSTEMS ARCHITECTURAL DESIGN 7. ECONOMICS Influences in Architectural Design 8. HUMAN FACTORS NEEDS OF MAN STAGES IN DESIGNING 1. Physical Needs 1. Design Analysis a. Self-preservation Design involves problem solving and solving Basic – food, shelter, clothing problems demands idea production. Additional – power, water, utilities, ecological CREATIVITY – 3 essentials to the development of balance, education, sports, medical, livelihood creative skills b. Reproduction a. ideation -continued existence b. idea quantity 2. Emotional Needs c. Imagineering Instincts stirred by the forces of religion and art 3. Intellectual Needs 2. Tentative Solution -education, science and government has to have brainstorming, requires patience. architectural setting 3. Criticism question what you do not understand disagree FUNDAMENTAL DESIRES OF MAN 4. Operational Process 1. Desire for preservation –basics conceptual design – sketch Downloaded by Jullanah Faye Calderon ([email protected])  lOMoARcPSD|45991212 operational design – working drawings ENVIRONMENTAL CONCEPT AND THE INTERIOR 5. Geometric Environmental Planning detailed visual interrelationship between all the *Equatorial Sun path parts of the building as the operational stage NE = Amihan ; November to April develops SW = Habagat ; May to October DESIGN TOOLS ENVIRONMENT + ARCHITECTURE 1. Prestatement 4 Goals of Green Architecture 2. Problem Statement 1. reducing impact on the earth from constructing 3. Information buildings and their materials 4. Analysis (mining & harvesting, embodied energy, pollutants in 5. Synthesis manufacturing) 6. Evaluation 2. Reducing impacts which arise during occupancy (fuel use, land pattern disruption, maintenance CONCEPTS impacts) integration of various elements into a whole 3. Reducing the impact of the structure at the end of its integrate design to a coherent whole and direct life to the most important aspects of design (whether decaying in place or joining a landfill) 4. Creating a more desirable human experience (natural materials have profound effects on people) *Ideas vs. Notions Concepts implies appropriateness SUSTAINABLE ARCHITECTURE In Architecture, Concept is defined as the integration of - attempt to balance resource consumption and CONTEXT, PROGRAM REQUIREMENTS & replenishment BELIEFS. It takes a CONCENTRATED EFFORT to develop a concept, bringing ideas together requires ENVIRONMENTAL ARCHITECTURE CREATIVITY (10% inspiration or genius + 90% hard Goal: attractive, comfortable, affordable shelter that work) does not harm the earth in its manufacture or use Conceptualization problems: In practice, it means 1. communication 1. maximum use of renewable building materials 2. lack of experience 2. minimum use of non-renewable energy-intensive 3. generating hierarchies building materials 3. catch energy falling from the house 5 TYPES OF CONCEPTS 4. design and build for long useful service life 1. analogies 5. the house must be sturdy, disaster-resistant and 2. metaphors bullet-proof 3. essences 6. the house must be futureproof, with access 4. programmatic concepts channels all around the structure to easily 5. ideals or external values upgrade and add future technology 7. capable of being “stand alone” 8. low maintenance DESIGNING FOR THE CLIMATE *for cooler, more efficient tropical homes 1. big windows 2. wide, low overhangs 3. high-pitched roof 4. use of light materials 5. locating living spaces on the second floor 6. putting a garden GREEN MATERIALS –non-toxic, durable, reusable Floor Finishes: 1. avoid using vinyl tiles 2. use stone 3. try bamboo 4. be mindful of wood 5. avoid synthetic carpets Wall Treatment: Downloaded by Jullanah Faye Calderon ([email protected])  lOMoARcPSD|45991212 -be mindful of paints – low VOC (volatile organic 1. for seeing and for better production results compound) 2. for man’s well-being, health & projecting cleanliness for his interior environment ENERGY CONSERVATION AND THE DESIGN 3. for economics – less dependence on electricity PROCESS 4. for aesthetics Energy General goal of daylighting: - capacity for performing work, strength to obtain sufficient amount of daylight in the - resources for using such power interiors to achieve the best quality of light for - can neither be created nor destroyed; merely changed man’s physical and biological needs from one form to another avoid visual strain and discomfort (minimize direct glare, excessive brightness) ENERGY-EFFICIENT ARCHITECTURE works towards eliminating dependence on external sources of energy OBJECTIVES OF DAYLIGHTING OF BUILDINGS 1. Use the following as daylight sources CONCEPTS a. diffused light of the sky 1. Passive Solar b. indirect light from the sky and the sun – using building’s elements to collect and store c. light coming from the ground and surrounding exterior heat surfaces Passive Cooling 2. Allow sun’s rays to penetrate into non-working - strategies to allow natural cooling areas of a building. Ex. Lobby, stairs, hallways, Ex. Sun shading devices + ventilation corridors, etc. Take advantage of sunlight as an asset 2. Active Solar -take advantage of sunlight as an asset -captures solar energy in specialized collectors, 3. allow more daylight to penetrate deeper into the stores it, and uses it to heat or cool workroom - uniform level of illumination 3. Earth Shelters 4. prevent direct daylight glare - a portion of a building is places underground, - caused by unprotected openings reducing its heating or cooling load 5. prevent excessive brightness ratios to occur within the workplace 4. Roof Ponds -cause discomfort and may be unacceptable to - water storage insulated by movable ponds the user of the area 6. prevent occurrence of veiling reflections 5. Superinsulation - from skylights and clerestory - isolates a building so that body heat will heat it, 7. diffuse daylight by means of multiple reflections summer heat is kept out off the ceilings and walls - not let outside heat enter NATURAL DAYLIGHTING STRATEGIES ENERGY DEVICES commonly integrated with 1. Orient building towards the sun and the sky in order to Architecture attain full advantage of their potentials as sources of 1. heat pump daylight. 2. photovoltaic panels 1. Study the form of the building to affect a larger 3. solar heaters exterior surface area for more exposure to daylight. ENERGY EFFICIENT DESIGN 2. General ways of creating openings in exterior Sun, Sky – lighting spaces Wind – ventilation a. side lighting b. top lighting Building orientation: horizontal - skylight South – best to achieve the full potential of the sun vertical - clerestory North - best to achieve the full potential of the sky * Interior spaces with window openings are East and West – poor due to vertical sun path generally limited to a width of 4.5meters to achieve a totally workable daylit space DAYLIGHTING 3. Design windows efficiently to obtain the right - Symbolize virtues of cleanliness, purity, knowledge and amount and quality of daylight (see fig 17) heavenly peace a. increase amount of daylight entering - sun & sky – 11 to 13 hours/day windows to achieve 10fc (min. intensity - free, beautiful, pleasing to the eye, psychologically level) necessary for man’s biological needs *ratio of window area to floor area = 1:5 *WA = 0.20 FA REASONS TO INCORPORATE DAYLIGHT Downloaded by Jullanah Faye Calderon ([email protected])  lOMoARcPSD|45991212 b. distribute daylight evenly across the FENG SHUI room -bilateral lighting is more advisable than -Chinese Geomancy unilateral - ancient Chinese practice concerned with the movement c. increase daylight penetration into the and circulation of positive, as well as negative, forces in deeper portions of the room the environment -the greater the height of windows, the - art of living in harmony with nature deeper the penetration of daylight in a - 2 Chinese terms referring to WIND & WATER room. Most important element: AIR For 10fc: WHH = 0.30D Goal of Feng Shui: d. control and project daylight as needed to help people live and work in a comfortable and external reflectors – patios, supportive environment; improve a person’s relationship walkways, roads with the environment use light shelves for multistory structures BENEFITS e. decrease slope of daylight curve across 1. creation of space that empowers and maximizes the room one’s opportunities in life – bring peace and - the steeper the slope, the more gloomy happiness the room 2. defines where it is most advantageous to live, - solution: supplement with electric how to create a beneficial environment and how lighting to turn one’s workplace, business, home and f. prevent windows from being direct glare landscape into the best center of power. sources o how to arrange objects to create -locate windows away from the harmony in the place they occupy observer’s line of sight -splaying or rounding off edges of *FENG SHUI is not a product of any religious beliefs; it is windows based on a set of careful analyses and calculations. -using control devices and different materials to cover windows ASPECTS OF FENG SHUI 1. works with CHI – flow of energy; breath, air, 4. Design top lighting systems efficiently to energy, spirit, soul supplement windows. 2. balance of YIN & YANG For skylights: 3. interaction of the elements of nature: fire, earth, a. Spacing metal, water, wind b. Skylights should preferably face north and/or south YIN YANG c. Splay or round off skylight openings West East d. Shade skylight to prevent intense Female Male daylight Moon Sun - glazing, daylight screens Dark Light e. Use interior reflectors Passive Activity Soft Hard For clerestory windows: Even numbers Odd numbers select surface finish early in the design for Right side Left side effective daylighting. 3 IMPORTANT INSTRUMENTS USED IN FENG SHUI 1. Trigrams – map to determine the energy blueprint within the property Eldest daughter Middle Mother WIND daughter FIRE EARTH Eldest Youngest Son CHI daughter LAKE THUNDER Youngest son Middle Son Father MOUNTAIN WATER HEAVEN 2. Lo ‘Pan –for gravesites 3. Ba Gua Downloaded by Jullanah Faye Calderon ([email protected])  lOMoARcPSD|45991212 SOME IMPORTANT LAWS IN THE PHILIPPINES Size and 6.00 sqm least Rooms for human Dimension of dimesion habitation RA 9266 rooms 2.00m Architecture Act of 2004 3.00sqm least Kitchen PD 1096 dimension National Building Code of the Philippines 1.50m Toilet and bath PD 1185 1.20sqm least Fire Code of the Philippines dimension RA 1378 0.90m Plumbing law of the Philippines Air space 3.00 cu.m w/ School rooms PD 1151 requirements 1.00m floor Environmental Policy area per Workshops, PD 1152 person factories, offices Philippine Environment Code 12.00 cu.m per Habitable rooms PD 984 person National Pollution Control Decree of 1976 14.00 cu.m per RA 8749 person Philippine Clean Air Act of 1999 FLOOR AREA RATIO (FAR) PD 1067 The Water Code of the Philippines - the total floor area of the building divided by the gross of the site area. It is measured from RA 9003 Ecological Solid Waste Management Act of outside wall to outside wall. 2001 PD 856 Code on Sanitation of the Philippines FAR = Building area Site area RA 7279 Urban and Housing Development Act of 1992 For FAR computation: BP 220 Standards of Economic and Socialized Distance between any floor and roof is 17meters = x2 Housing 26meters = x3 PD 957 Subdivision and Condominium Buyers’ Protective Decree VISION PD 1216 Defining Open Space in Residential -experienced through the eye, interpreted by the mind Subdivision 2 TYPES OF VISION RA – Republic Act A law passed by Congress. The bill becomes a law after 1. STEREOSCOPIC it is signed by the President and published. - overlap different views into 1 image, process create illusion of 3d PD – Presidential Decree 2. KINESTHETIC Legislation made by President fiat by then President - man experiences space in movement of eye from one Marcos during the Martial Law Years (1972-1986). They part of a whole to another continue to be valid unless otherwise amended or repealed by a subsequent law passed by an act of PERCEPTION OF OBJECTS congress. FIGUREGROUND FLUCTUATION IMPOSSIBLE FIGURES REVERSIBLE FIGURE PD1096 - National Building Code of the Philippines OPTICAL ILLUSIONS MONOCULAR CUES TO DEPTH Factors Minimum Description 1. Superposition 2.70m 1st storey 2. Apparent Magnitude and Relative Size Ceiling Height 2.40m Succeeding 3. Height in place 2.10m storeys - object further away in a flat plane appear to be 1.80m Unobstructed higher typical headroom 4. Texture clearance - as distance is greater, texture is finer Mezzanine floors above and below Downloaded by Jullanah Faye Calderon ([email protected])  lOMoARcPSD|45991212 Architecture is generally conceived—designed— architectural design; musings on the origins realized—built—in response to an existing set of of building types or styles; and advocacy for conditions. These conditions may be purely new approaches to the architectural functional in nature, or they may also reflect in discipline and practice. varying degrees the social, political, and economic climate. In any case, it is assumed that the existing set of conditions—the problem—is less than satisfactory and that a new set of conditions—a solution—would be desirable. The act of creating architecture, then, is a problem-solving or design process. (F. Ching, 2015) Theory (in general) a plausible or scientifically acceptable general principle or body of principles offered to explain the phenomenon. (Webster) a supposition or a system of ideas intended to explain something, especially one based on general principles independent of the thing to be explained. (Oxford) a contemplative and rational type of abstract or generalizing thinking about a phenomenon, or the results of such thinking. (Wikipedia) Architecture – the art and science of designing and constructing buildings. DEFINITIONS Arts – the product or result of architectural work, buildings, collectively. Science – Style or method of buildings characteristics of a people, place, time. Designing – The profession of designing buildings and other habitable environments. Constructing – The conscious act of forming things resulting in a unifying or coherent structure. Building – The different types of structures such as residential, commercial, institutional, industrial, open spaces, and infrastructure. ARCHTIECTURAL THEORY - Is the act of thinking, discussing, and writing about architecture. (simplest definition by Wikipedia) - The architectural theory tradition encompasses critical commentary on or explanations of architectural works or styles or movements; instructions or guidelines for Downloaded by Jullanah Faye Calderon ([email protected])