Theory of Architecture M2 PDF

THEORY OF ARCHITECTURE -- M2 **DESIGN - Proportion and Scale, Hierarchy, & Proxemics** Design is the creation and organization of formal elements in a work of art. Design principle is a fundamental and comprehensive concept of visual perception for structuring and aesthetic composition. Topic Out...

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