THEORY OF ARCHITECTURE

REVIEWER In addition to shape, forms have

visual properties of:
VISUAL PROPERTIES AND
TRANSFORMATION OF FORMS SIZE
FORM  The physical dimensions of length,
width, and depth of a form.
 “Architectural form is the point of
contact between mass and space …
 While these dimensions determine
Architectural forms, textures,
the proportions of a form, its scale
materials, modulation of light and
is determined by its size relative to
shade, color, all combine to inject a
other forms in its context.
quality or spirit that articulates
space.
COLOR
 The quality of the architecture will
 A phenomenon of light and visual
be determined by the skill of the
perception that may be described in
designer in using and relating these
terms of an individual’s perception
elements, both in the interior
of hue, saturation, and tonal value.
spaces and in the spaces around
buildings.”
 Color is the attribute that most
clearly distinguishes a form from
Form is an inclusive term that has
its environment.
several meanings.
 It also affects the visual weight of a
 It may refer to an external
form.
appearance that can be recognized,
as that of a chair or the human
body that sits in it. TEXTURE

 In art and design, we often use the  The visual and especially tactile
term to denote the formal structure quality given to a surface by the
of a work— the manner of size, shape, arrangement, and
arranging and coordinating the proportions of the parts.
elements and parts of a
composition so as to produce a  Texture also determines the degree
coherent image. to which the surfaces of a form
reflect or absorb incident light

SHAPE
 The characteristic outline or
surface configuration of a
particular form.

 Shape is the principal aspect by

which we identify and categorize
forms.
FORMS ALSO HAVE RELATIONAL TRIANGLE
PROPERTIES THAT GOVERN THE
 A plane figure bounded by three
PATTERN AND COMPOSITION OF
sides and having three angles.
ELEMENTS:
POSITION  The triangle signifies stability.
 The location of a form relative to
 When resting on one of its sides,
its environment or the visual field
the triangle is an extremely stable
within which it is seen.
figure.
ORIENTATION
 When tipped to stand on one of its
 The direction of a form relative to vertices, however, it can either be
the ground plane, the compass balanced in a precarious state of
points, other forms, or to the equilibrium or be unstable and tend
person viewing the form. to fall over onto one of its sides
VISUAL INERTIA SQUARE
 The degree of concentration and  A plane figure having four equal
stability of a form. sides and four right angles.
IN ARCHITECTURE, WE ARE  The square represents the pure and
CONCERNED WITH THE SHAPES the rational.
OF:  It has two equal and perpendicular
axes.
 floor, wall, and ceiling planes that  Like the triangle, the square is
enclose space. stable when resting on one of its
 door and window openings within sides and dynamic when standing
a spatial enclosure. on one of its corners.
 silhouettes and contours of
building forms. SURFACES
 Surface first refers to any figure
having only two dimensions, such
PRIMARY SHAPES as a flat plane.
 the most significant shapes are the  These are a class of curved
primary shapes: the circle, the surfaces include the following:
triangle, and the square.  Cylindrical surfaces are generated
by sliding a straight line along a
CIRCLE plane curve, or vice versa.
 A plane curve every point of which Depending on the curve, a
is equidistant from a fixed point cylindrical surface may be circular,
within the curve. elliptic, or parabolic
TRANSLATIONAL SURFACES CYLINDER
 are generated by sliding a plane  A solid generated by the revolution
curve along a straight line or over of a rectangle about one of its
another plane curve. sides. A cylinder is centralized
about the axis passing through the
RULED SURFACES
centers of its two circular faces.
 are generated by the motion of a Along this axis, it can be easily
straight line. Because of its straight extended.
line geometry, a ruled surface is
CONE
generally easier to form and
construct than a rotational or  A solid generated by the revolution
translational surface. of a right triangle about one of its
sides. Like the cylinder, the cone is
ROTATIONAL SURFACES
a highly stable form when resting
 are generated by rotating a plane on its circular base, and unstable
curve about an axis when its vertical axis is tipped or
overturned. It can also rest on its
PRIMARY SOLIDS apex in a precarious state of
 The primary shapes can be balance.
extended or rotated to generate
volumetric forms or solids that are
distinct, regular, and easily PYRAMID
recognizable.
 A polyhedron having a polygonal
base and triangular faces meeting
 Circles generate spheres and
at a common point or vertex. The
cylinders;
pyramid has properties similar to
those of the cone. Because all of its
 triangles generate cones and
surfaces are flat planes, however,
pyramids;
the pyramid can rest in a stable
manner on any of its faces. While
 squares generate cubes.
the cone is a soft form, the pyramid
is relatively hard and angular.
SPHERE
 A solid generated by the revolution
of a semicircle about its diameter,
whose surface is at all points
equidistant from the center.
CUBE TRANSFORMATION OF FORM
 A prismatic solid bounded by DIMENSIONAL TRANSFORMATION
sixequal square sides, the angle
 A form can be transformed by
between any two adjacent faces
altering one or more of
being a right angle.
itsdimensions and still retain its
 Because of the equality of its
identity as a member of a family of
dimensions, the cube is a static
forms.
form that lacks apparent movement
or direction.
 A cube, for example, can be
 It is a stable form except when it
transformed into similar prismatic
stands on one of its edges or
forms through discrete changes in
corners.
height, width, or length.
 Even though its angular profile is
affected by your point of view, the
 It can be compressed into a planar
cube remains a highly recognizable
form or be stretched out into a
form.
linear one.
REGULAR & IRREGULAR FORMS
 Regular forms refer to those whose SUBTRACTIVE TRANSFORMATION
parts are related to one another in a
 A form can be transformed by
consistent and orderly manner.
subtracting a portion of its volume.
 They are generally stable in nature
and symmetrical about one or more
 Depending on the extent of the
axes The sphere, cylinder, cone,
subtractive process, the form can
cube, and pyramid are prime
retain its initial identity or be
examples of regular forms.
transformed into a form of another
 Irregular forms are those whose
family.
parts are dissimilar in nature and
related to one another in an
 For example, a cube can retain its
inconsistent manner.
identity as a cube even though a
portion of it is removed, or be
transformed into a series of regular
 They are generally asymmetrical
polyhedrons that begin to
and more dynamic than regular
approximate a sphere.
forms. They can be regular forms
from which irregular elements have
been subtracted or result from an
irregular composition of regular
forms.
ADDITIVE TRANSFORMATION ADDITIVE FORM
 A form can be transformed by the CENTRALIZED FORM
addition of elements to its volume.
 A number of secondary forms
clustered about a dominant, central
 The nature of the additive process
parent-form
and the number and relative sizes
of the elements being attached
determine whether the identity of
the initial form is altered or LINEAR FORM
retained.  A series of forms arranged
sequentially in a row
THE BASIC POSSIBILITIES FOR
GROUPING TWO OR MORE FORMS  can result from a proportional
ARE BY: change in a form’s dimensions or
the arrangement of a series of
INTERLOCKING VOLUMES discrete forms along a line.
 In this type of relationship, the
forms interpenetrate each other’s RADIAL FORM
space. The forms need not share
any visual traits.  A composition of linear forms
extending outward from a central
FACE-TO-FACE form in a radial manner.
 Contact This type of relationship
 consists of linear forms that extend
requires that the two forms have
outward from a centrally located
corresponding planar surfaces
core element in a radiating manner.
which are parallel to each other.
EDGE-TO-EDGE CONTACT  It combines the aspects of
centrality and linearity into a single
 In this type of relationship, the
composition.
forms share a common edge and
can pivot about that edge. CLUSTERED FORM
SPATIAL TENSION
 A collection of forms grouped
 This type of relationship relies on
together by proximity or the
the close proximity of the forms or
sharing of a common visual trait.
their sharing of a common visual
trait, such as shape, color, or
 While a centralized organization
material.
has a strong geometric basis for the
ordering of its forms, a clustered
organization groups its forms
according to functional
 requirements of size, shape, or
proximity.

 IMPORTANCE OF FORMAL COLLISIONS OF

ARCHITECTURAL DESIGN GEOMETRY
PRINCIPLES
 They can be attached as WHEN TWO FORMS DIFFERING IN
appendages to a larger parent form GEOMETRY OR ORIENTATION
or space. INTERPENETRATE EACH OTHER’S
BOUNDARIES, EACH WILL VIE
 They can be related by proximity FOR VISUAL DOMINANCE. IN
alone to articulate and express their THESE SITUATIONS, THE
volumes as individual entities. FOLLOWING FORMS CAN
EVOLVE:
 They can interlock their volumes  The two forms can subvert their
and merge into a single form individual identities and merge to
having a variety of faces. create a new composite form.

 A clustered organization can also  One of the two forms can receive
consist of forms that are generally the other totally within its volume.
equivalent in size, shape, and
function.  The two forms can separate and be
linked by a third element that
GRID FORM recalls the geometry of one of the
original forms.
 A set of modular forms related and
regulated by a three-dimensional
grid ARTICULATION OF FORM
A FORM CAN BE ARTICULATED
 A grid is a system of two or more BY:
intersecting sets of regularly
spaced parallel lines.  Differentiating adjoining planes
with a change in material, color,
 The most common grid is based on texture, or pattern
the geometry of the square.
Because of the equality of its  Developing corners as distinct
dimensions and its bilateral linear elements independent of the
symmetry. abutting
planes

 Removing corners to physically

separate neighboring planes

 Lighting the form to create sharp

contrasts in tonal value along edges
and corners
 IMPORTANCE OF
ARCHITECTURAL DESIGN
CORNERS
PRINCIPLES
 define the meeting of two planes.
 Main purpose is just to make a
building with visual beauty,
 A corner condition can be visually
stability and full of functions.
reinforced by introducing a
separate and distinct element that is CONTRAST
independent of the surfaces it joins.
 The key here is to make it
noticeably different. It will be
 If an opening is introduced to one
boring for a building without
side of the corner, one of the planes
contrast. So do some contrasts to
will appear to bypass the other.
make it more attractive.
 If neither plane is extended to
 Opposition or dissimilar elements
define the corner, a volume of
in a work of design to intensify
space is created to replace the
each element’ s properties and
corner.
produce more dynamic expression.
 Rounding off the corner
 It creates a visual variety,
emphasizes the continuity of the
excitement and interest to the
bounding surfaces of a form, the
building and can be achieved in
compactness of its volume, and
one building or a group of building
softness of its contour.
on the scale of street scape.
PRINCIPLES OF COMPOSITIONS
ARCHITECTURAL DESIGN
PRINCIPLES PURPOSE OF CONTRAST IN
DESIGN
 are principles of concepts that are
incorporated into a structure’s or  Avoid monotony
system’s architecture (whole  Create Diversified effect
concept) to produce specific  Give emphasis and thus hold
outcomes. attention
 Produce variety
 are the artificial and technical
METHODS OF PRODUCING
methods that we apply to produce
CONTRAST IN A DESIGN
architectural designs; home design
and interior design beauty.  Combine elements of different
Architects use them to achieve characterisitics
their objectives or visual goals.
 One element dominating others to
give emphasis or interest
  Variations in materials, forms, sizes
direction, colors and other
qualities.

TYPICAL CONTRAST
CONTRAST OF FORM CONTRAST OF LINE
 shape  Lines may vary with reference to
 mass direction.
CONTRAST OF LINE
 It is possible to have a horizontal
 direction line opposing a vertical or diagonal
 type lines
may form a composition.
CONTRAST OF SIZE
 Gradation  A line may also offer contrast on
 Modular account of its change in type or
character.
CONTRAST OF TONE  It may be curved or straight,
 Texture regular or irregular, broken or
 Opening continuous.

CONTRAST OF FORM CONTRAST OF SIZE

 If form is used to mean merely  Deals with the object which have
surface or to imply a 2-dimensional the same shape and direction but
area, there exists only the element vary in size .
of shape.
 GRADATION – it is the change in
size and gradual and uniform.
 In order for a shape to be
interesting there must be variety or CONTRAST OF TONE
contrast.
 Tone may be done through contrast
 If form is more properly conceived in texture, opening or planes.
in 3 dimensions, the architectural COMBINATIONS: VARIOUS TYPES
result is mass or volume. OF CONTRAST ARE COMBINED
LIKE
 Contrast of mass- contrast of
vertical and horizontal volumes

 Contrast of shape

 Contrast of tone
  deals with the relationship between
the parts of an object and the
whole example ratio between the
diameter of a Classical column and
its height or the relation of the
panels of the door and the whole
door
CONTRAST IN ARCHITECTURAL
SUBJECTS : ABSOLUTE PROPORTION

CONTRAST OF MASS  parts of the object or the whole to

the various parts.
 Contrast of vertical and horizontal
volumes giving a composition in  deals with the relationship between
abstract form which becomes the different parts of an object or
capable of housing human interests the whole to the various parts.
through the introduction of
windows, doors, and floor levels. GEOMETRICAL FORMS WHICH
HAVE VERY DEFINITE
CONTRAST OF DIRECTION PROPORTIONS
 Horizontal and vertical details. CIRCLES
CONTRAST OF TREATMENT  In plan: a circular or square units
 Surface finish. The same material acts as a focal point on the center
in different treatment,. for radiating lines.

 Contrast of pattern different  On an elevation: these same shapes

materials will give emphasis to that
particular portion in which they are
PROPORTIONS incorporated.
 Proportion is largely a matter of
relationships.  The circle and the square have
been found to possess certain
 It is evident by a comparison, properties, which recommend them
which the eye makes between the as a base upon which to begin the
size, shape and tone of the various design.
objects or parts of a composition.
SQUARE TO RECTANGLE
 There are certain geometrical
shapes with good proportion such  Often, a rectangle is mistaken for a
as the circle, triangle and square. square if the rectangle approaches a
square’s dimension.

TYPES OF PROPORTION  An observer will have a doubt to its

RELATIVE PROPORTION real geometric shape. On the other
hand, if it’s too long the observer
 parts of the object as it is would divide it into 2 equal spaces.
  Thus the rectangle to the diagonal
of a square based upon the short
sides – and this is called the
Golden mean.

 The Golden Mean

 Inclusive rectangle
 Exclusive rectangle PRINCIPLE:
PROPORTION:CLASSICAL ORDER
TRIANGLE
 To the Greeks and Romans of
 the equilateral triangle, or one with classical antiquity, the Orders
equal sides and angles, has long represented in their
been accepted as a form with good proportioning of elements the
proportions. perfect expression of beauty and
harmony.
 it tapers in a regular manner form
the base to the apex, carrying the  The basic unit of dimension was
eye up to this focal point of the the diameter of the column.
composition.
 From this module were derived the
dimensions of the shaft, the capital,
CLASSICAL PROPORTION as well as the pedestal below and
the entablature above, down to the
 In this regard, whenever we talk of
smallest detail.
proportion we often refer to the
Classical Orders.

 The Renaissance interpretation of

Classical Architecture as developed
by Vignola and Palladio, is based
upon standardized proportions.

 The Greeks did not design in this

manner, but it is possible for
Renaissance architects, by studying
a large number of Roman
examples, to strike an average,
which would represent the
outstanding characteristics of these
Classical elements.
 OTHER BASIS / THEORIES OF
PROPORTION
PROPORTIONS MAY BE BASED ON
THE FOLLOWING FACTORS:  Golden Section- can be defined as
the ration between two sections of
 Natural Material Proportions
a line or the two dimensions of the
 Manufactured Proportions
plane figure, in which the lesser of
 Mode of Construction or Structural
the two is to the greater as the
Proportions
greater is to the sum of both
 Requirements of the Program,
function or government ordinances:
 Ken-Japanese Mat (3.15 x 6.30)-
The 'KEN' modular grid is a
 The proportion of the height of a
Japanese way of proportioning the
room is controlled by the local
size of rooms where one MAT is
building ordinances, logics and
3.15 x 6.30 or 1 x 2 ken in Kyo-
artistic sense.
man method.This uses 6 shaku =
1 ken grid in the lnaka-Ma
 Auditorium proportion are
Method.
influenced by the visual and
acoustical considerations
 A Human Proportions/
Anthropometrics-
 Proportions between heights and
Anthropomorphic proportioning
areas of rooms are controlled by
methods seek not abstract or
the capacity and lighting
symbolic ratios, but functional
requirements of the room.
ones. They are predicated on the
theory that forms and spaces in
 Traditions and Generally Accepted
architecture are either containers or
Taste:
extensions of the human body and
should, therefore, be determined by
 At the exterior, the height of an
its dimensions.
edifice should be in proportion to
the character that edifice demands.
 B FURNICUBE - a formula
discovered by the Auhtor as based
 Buildings of worship such
from Le Corbusiers Modulor . A
churches and temples usually have
height of any preson in meters
traditional proportions.
divided by the no. 7.85 will give
the dimension of the head or H
 Classical buildings usually have a
proportions based upon traditional
rules.
  Diagonal system – giving a
dimishing gradation of lines using
the square

 MODULOR - is an
anthropometric scale of proportions
devised by the Swiss-born French SCALE
architect Le Corbusier (1887–
 Scale has reference to proportions,
1965).
which are good for humans.
 The Modulor is a system of
 It is one set of the most subtle of
measurements on a human scale
the elements of design and one of
created by Le Corbusier from the
the most difficult to obtain.
golden ratio. “The Modulor is a
measurement tool derived from
 Scale deals with the relation of
human stature and mathematics.
architectural motifs, such as doors,
windows or moldings, to each
PROPORTIONING SYSTEMS other and to the human figure.
(DYNAMIC & HARMONIC SERIES)
 Scale refers to how we perceive the
 Dynamic Rectangles -is a right-
size of a building element or space
angled, four-sided figure (a
relative to other forms.
rectangle) with dynamic symmetry
which, in this case, means that
 In visually measuring the size of an
aspect ratio (width divided by
element we tend to use other
height) is a distinguished value in
elements of known-size in their
dynamic symmetry, a
context as measuring devices
proportioning system.
 These are know as scale-giving
 Square System – a square of side
elements and fall into two general
1 has a diagonal length = √2 two
categories :
rparalle sides of the square are
extended indefinitely.
 Building elements whose size and
characteristics are familiar to us
 Dynamic series – projected in two
through experience like doors,
dimensions offers a series of square
window, tables, chairs, stairs etc.
a with areas 1, 2, 3, 4, 5…. Square
units
 Human figure
 Alternating positive & negative
rotation – to the x and y axis KINDS OF SCALE:
produces an intermittent series of
 GENERIC – size of a building
dynamivc rectangles
element relative to other forms in
its context.
  NORMAL - The human scale is
 HUMAN- size of a building what we are used to. Our houses
element or space relative to the are typically built to this natural
dimensions and proportion of a scale. We should feel comfortable
human body. walking through our doorways.
The ceiling neither bumps our
heads, nor is lost in the shadows.

 MONUMENTAL - is impressive.
FACTORS THAT EFFECT Our public buildings are
SCALES : monumental. This is a statement of
 Normal requirements of human hierarchy, highlighting their
beings importance in our society. Those
institutions represented by those
 Sizes of familiar materials and buildings are bigger than us and we
those of nature. should stand in awe of them.

 Beauty or appearance  SHOCKING - Shock scale can be

either smaller or larger, but it is so
 Character – whether it is a out of the ordinary that it jolts us.
monument, residential, rustic or You sometimes see it in art, and in
formal architecture that strives to shock,
but it is a rare thing in residential
 Function or purpose – usually, architecture.
classroom areas or theater areas
affect the design of a room. BALANCE & GRAVITATIONAL
CURVES
 Location or visual distance –
mouldings, bas reliefs and  GRAVITATIONAL-natural
statues outside the building tendency toward some point or
should be bigger than that is object of influence. The gravitation
viewed from the inside. of people towards suburbs.

 Economics – depends upon the  BALANCE - is equality.

budget of the owner. A limited
budget will provide a smaller  AXIS - The most elementary
building , a lower height means of organizing forms and
spaces in architecture. It is a line
established by two points in space
TYPES OF SCALE: and about which forms and spaces
 INTIMATE - Intimate sizes are can be arranged in a regular or
smaller than what is normal. These irregular manner.
don’t shock you, but they are
smaller than what we expect, being  It is composition.
cocoon like.
  It is the foundation upon which  RADIAL- is characterized by an
arrangement, harmony and arrangement where all the parts
adjustment of weights, tones, radiate from a center like the
values, etc. are developed. spokes in a wheel.

 Proper balance satisfies the eye

with reference to the relative
importance of the various parts of
the design.

THREE TYPES OF BALANCE

 UNSYMMETRICAL BALANCE
SYMMETRICAL BALANCE
A more subtle and elusive and is
 monumental effect more difficult to attain.
 centralized
 formal  It attempts to satisfy the eye
 radial without any effort to place equal
 UNSYMMETRICAL BALANCE masses at similar distances from
informal the center of the composition.
 GRAVITATIONAL BALANCE
picturesqueness of surroundings  It is the grouping, in an informal
manner, of elements of varying
THREE TYPES OF BALANCE
sizes and shapes.
SYMMETRICAL BALANCE:
 In an informal arrangement the
 CENTRAL AXIS- The easiest and longer and heavier masses should
simplest kind of balance is the be nearer the center of the group,
purely symmetrical type in which while the lighter, lower and more
the elements are arranged in horizontal elements may constitute
precisely the same manner on the long arm of the steelyard.
either side of a central axis or line.
 Vertical units may be introduced
 FORMAL BALANCE - is a type near the center of interest, or the
of balance which approach fulcrum, in order to create the
absolute symmetry but which lacks desired accents.
some of the essentials of this kind
of composition.

 The general mass and grouping of

parts may be similar, but there are
dissimilarities in plan, elevation, or
details. The volumes of the
balancing units may correspond,
but there may exist a difference in
their shapes and surface treatments.
GRAVITATIONAL / PICTURESQUE- RHYTHM AND REPETITION
 A kind of composition is the  RHYTHM- refers to any
complete adaptation to its movement characterized by a
surroundings. This type of patterned repetition of elements or
composition is often far removed motifs at regular or irregular
from conscious composition. intervals. Time or distance.

 The gravitational is typical  The movement may be of our eyes

arrangement of nature, in which a as we follow recurring elements in
landscape is informal in its a composition, or of our bodies as
disposition of parts. Its we advance through a sequence of
arrangement is accidental, and it spaces.
may be good in its composition or
it may be lacking in this quality.  RHYTHM – refers to the regular
Nature works in an unconscious or harmonious recurrence of lines,
manner with no attempt to meet shapes, or colors.it Incorporates the
man-made rules fundamental notion of repetition as
a device to organize forms and
 Balance suggests a gravitational spaces in architecture.
equilibrium of a single unit in
space, or of pairs symmetrically  RHYTHM is ORGANIZED
arranged with respect to a central MOVEMENT It must be directed
axis or point. and controlled

 In picture-making, balance refers to  Almost all building types

a "felt" optical equilibrium incorporate elements that are, by
between all parts of the work. The their nature, repetitive. Beams and
artist balances forces horizontally, columns repeat themselves to form
vertically, radially, diagonally in all repetitive structural bays and
directions and positions. modules of space.

 Examples: beams and columns,

windows and doors, similar
functions
  Rhythm created by duplicating
(repeating) shapes, colors, pattern,
line, texture.

 Repeated window panes, repeat.

Stripes on wall and design and
color of class.

TWO TYPES OF RHYTHM

RHYTHM BY GRADATION
 RHYTHM AND REPETITION
UNACCENTED RHYTHM-  Rhythm created by a gradual
equally spaced windows are change in size or color.
introduced on the unbroken wall,
then regular repetition is present.  Carpet on the floor changes
gradually in value.
 ACCENTED RHYTHM - if the
openings or details are arranged in  Gradation in lights. Below
such a manner that some are more
important than others, then the eye RHYTHM BY RADIATION
grasps the significance of this
relationship and pauses longer in  Rhythm created by identical
contemplating the larger elements. objects coming from a central axis.

RHYTHM MAY BE ONE OF  The glass frames “radiate” from

THE FOLLOWING : center of the path.

 Rhythmic use of color- movement  The floor design the windows,

of the eye across a painting from furnitures, etc. in radial rhythm.
spot to spot of similar color.
RHYTHM BY OPPOSITION
 Rhythmic use of line-repetition of a  Rhythm reated direct placement of
similar type of line in a piece of lines, shapes, or through abrupt
sculpture. visual change.

 Rhythm of motion-the movement  Contrasting black and white tiles

of dancers. and the lines intersecting at the
right angles.
 Rhythm of direction -continuity of
a series of arches forming an
RHYTHM BY TRANSITION
arcade.
 Rhythm created by curved lines
that carry your eye across straight
RHYTHM BY REPETITION
surface.
  In an architectural composition, the
 Window treatments that gently elements must be arranged in such
swag down, create a soft rhythm by a way as to insure the domination
transition. of the less important parts by the
major masses of the building.

THERE ARE AT LEAST SEVEN (7)

UNITY AND HIERARCHY
WAYS OF PRODUCING AN EFFECT
 Unity is the culmination of all the OF UNITY IN A DESIGN
previously mentioned elements of
 There must be a central motif, a
design.
theme, or a center of interest. The
attention of the observer must be
 If structure has unity, it must have
drawn to this focal point.
contrast, rhythm and scale. Unity
suggests harmony.
 The major masses of the building
should dominate the less important
 It means that all the unrelated parts
ones.
of an architectural arrangement are
brought into proper relation to each
 All the units should together form a
other so that a satisfactory
compact and coherent ensemble:
composition is obtained.
 The element of emphasis must be
 If unity prevails, all the
introduced. It may be secured by
unimportant parts must be kept in
the size, position, or treatment of a
their places and be made simply to
particular motif which is to give
assist the major units in the roles
the desired importance to that
which they are to play in the
particular part of the building.
development of the structure.
 By limiting the amount of
 The unity of simple geometric
treatment seen at one time.
forms is easy to understand.
 By selecting details, materials,
 The simplest kind of unity dealing
colors, etc. in harmony with the
with motifs of more than one
basic idea.
member is to be found in ordinary
REPETITION . Like repetition of
 By selecting styles, furniture and
sound or beads of the same size
furnishings in harmony with the
and spacing. To give emphasis and
surroundings.
interest, an accent is then
introduced.
COMPETITION:
  When elements compete with each  For a form or space to be
other for the place of importance. articulated as being important or
There is competition. significant to an organization, it
must be made visibly unique. This
 This causes 'DUALITY' or the can be achieved by endowing a
presence of two strong conflicting form or shape with the following:
personalities or masses resulting in
discord and redundancy.  EXCEPTIONAL SIZE - A form
or space may dominate an
architectural composition by being
significantly different in size than
LACK OF UNITY all other elements in the
composition.
CONFUSION
 Another kind of competition where  UNIQUE SHAPE - Forms and
dissimilarity is too pronounced. spaces can be made visually
dominant, and thus, important by
 There is no harmonious treatment clearly differentiating their shape
and dissimilarities in architectural from that of. the other elements in
elements such as door, windows the composition.
are combined.
 A STRATEGIC LOCATION:
 There is no definite architectural Forms and spaces may be.
character and no central theme.
 strategically placed to call attention
to themselves as being the
HIERARCHY important elements in a
 implies that in most architectural composition.
compositions, real differences exist
among their forms and spaces HIERARCHICALLY IMPORTANT
LOCATIONS FOR A FORM OR
 These differences reflect in a sense, SPACE INCLUDE THE
the degree of importance of these FOLLOWING:
forms and spaces, and the
functional, formal, and symbolic
roles they play in their  the termination of a linear sequence
organization. or axial organization.

 The value system by which their  Hierarchically important locations

relative importance is measured for a form or space include the
will, of course, depend on the following:
specific situation, the needs and
desires of the users and the  the centerpiece of a symmetrical
decisions of the designer. organization.
  the focus of a centralized or radial  FUNCTIONAL CHARACTER -
organization. the most important kind of
character in architecture is that,
 offset, above, below or in the which results from the purpose of
foreground of a composition the building or the reason for its
erection. • The use of a structure
naturally calls for a certain
disposition of parts, and this
arrangement affects the appearance
of the exterior by which we largely
judge character.

CHARACTER
 Character grows out of the function  FUNCTIONAL CHARACTER -
of the building and the In architecture it is developed as
consideration of all the creative expressions of a building which is
principles of composition. the manifestation of internal
function. The purpose or function
 It is something, which should be of a building gives us the external
kept in mind during the entire appearance of a building.
process of design. TYPES OF CLASSIFICATION OF
FUNCTIONAL CHARACTER :
 Throughout the development of a
project the designers must ever  PERMANENT STRUCTURE -
strive to express the purpose of the will have performance of repetitive
building, both in general functions or actions. Hence use of
composition and the use of details. more permanent materials.
 Manifested character is the external
expression of internal qualities.  SEMI-PERMANENT
STRUCTURE - use of materials
 In any architecture, which is will be of such a nature which can
worthy of the name, the exterior of be removed and reused like
a building expresses the internal portable cabins, thatch roof, or AC
function. sheet, Polycarbonate sheet etc.

 THREE TYPES OF  TRANSIENT STRUCTURES -

CHARACTERS: are meant to satisfy the immediate
need and can be dismantled or
 FUNCTION - of use of the removed
building. .
 ASSOCIATION - or influence of
traditional types.
 impressive and should have dignity
 PERSONALITY - or the human and command respect. Its function,
quality or emotional appeal then, is to be monumental, usually
symmetrical.

 BANK-should have dignity-it is a

building designed to house an
activity which is very near to the
heart and mind of the average
citizen-that of caring for his
money.

 MOVIE- CINEMA HOUSE -a

place of relaxation or recreation
after a hectic day of discharging
one's obligations of the day. In this
building psychological use of color
 MUSEUM - must have galleries and decoration is important.
with ample wall space and top HOUSE - should reflect the
light, which eliminates windows informal intimacy of home life.
and necessitates the use of
skylights  ASSOCIATED CHARACTER -
This character develops from the
 SCHOOL BUILDING - must influence of ideas or impression
contain many windows to admit the related to or growing out of past
necessary side light and to offer an experience. with particular style
interesting contrast with the
possible monotony of the class-  We have come to recognize
room walls. buildings by features, which had
long been associated with that
 SHOP - with large show windows particular structure.
is usually a shop for the display
and sale of merchandise.  A spire atop a building with stained
glass windows has always told us
 FACTORY - expresses the that it was a church.
efficient operation of the
manufacturing within. he exterior  Classic Orders often indicates the
shows often only the structural presence of a bank/government
members - which are stripped of all building.
unnecessary decoration together
with the enclosing expanses of the  Collegiate Gothic frequently
glass to light the interior. discloses the identity of an
educational institution.
 MONUMENT serves to
perpetuate a memory of a person or  The contemporary movement in
an important event. It does not architecture has, however, caused
produce any revenue. It must be
 many revisions in our association  It is to these qualities of vitality,
of ideas. repose, grace, restraint, festivity,
dignity, etc. that we give the name
 There are so many influences of personal character.
responsible for changing the
character of our modern buildings.  If the building is designed in the
proper spirit, this type of character
 Materials, our attitudes toward will grow naturally from the
physical comfort made possible the structure itself.
disassociation from the past.
 It is quite essential that this
intangible quality agree with the
function of the building.

 Nothing could be more disastrous

than to have a power plant looks
like an entertainment pavilion – a
 PERSONAL CHARACTER / substitute of festivity for efficiency
INDIVIDUAL CHARACTER -
Each architect would express  PERSONAL CHARACTER /
certain character which makes hi/ INDIVIDUAL CHARACTER -
her own style. Personality in a building has more
to do with the spirit of the building
 Character in architecture is than its purpose-They are abstract
comparable with the attributes of rather that concrete .
an individual. If a building is
designed in the proper spirit, Example :
personal characteristics such as  Custom-house - here a sense of
grace, dignity and vitality can be strength and solidity is required.
expressed as an integral part of the Strong walls are deemed necessary,
structure. and heavy masonry with few
openings is used to give the desired
 Buildings have qualities which are character. Here all is business all is
directly related to their functions, in seriousness.
but in addition, they may possess
characteristics which have to do Example :
rather with the emotional reaction  A large house- for those who want
set up in the mind of the observer. to display evidence of his wealth.

 Buildings may be stern and  A simple designed house-for the

forbidding, light and playful or quiet and unassuming people.
sedate and dignified with reference
to the impressions, which they are  PERSONAL CHARACTER A/
capable of giving. INDIVIDUAL CHARACTER -.
Personality of character in a
building can be attained by the
 ingenious application of masses, characteristics are lessened if not
lines and color treatment, reversed.

 HEAVY MASSES SEDATE  PROPORTION- regarded to

(Composed) {Dignified) produce formality in character
when applied. Example is
 STRAIGHT LINE Sturdiness triangular massing. The huge
(Masculine Effect) proportions applied in the parts of
the classical buildings give them
 HORIZONTAL LINES -Repose I the formal character.
Rest, Peace) Stability, Comfort,
And Widening Effect.

 VERTICAL LINES -strength

(Power, Vitality, Dignity,
Inspirational Emphasize Height
And Monumentality Dynamic).

 DIAGONAL LINES -action

(Movement, Vigor And Speed).  STYLE- many architects believe
that style is character expressive of
 IRREGULAR LINES-informality definite conceptions as for example
(Excitement). grandeur, gaiety, or solemnity. On
account of traditions, certain styles
 CURVED LINES -grace of Architecture were adapted for
(Refinement, Feminine Emotional, specific types of buildings. This
Continuity, Flexibility). give the proper or good
“Ambience” say, for example, a
 BRIGHT COLORS- ( red, neat and orderly modern design of
Yellow, Orange, Et.) Conspicuous, a beergarden as compared to
Cheerful, Stimulating, Attractive, beergarden with indigenous, all
Advancing Effect. local materials used.

 COOL COLORS -blue Green,  AMBIENCE- surrounding on all

Violet, Etc. (unconspicuous, sides, an environment or its distinct
Restful Receding Effect, Suggests atmosphere; or milieu.
Distance) .
 MILIEU- environment, social or
cultural setting.
Character then maybe expresses in
Architecture by the following :
 SCALE- when increased, it gives a
feeling of grandeur, dignity, and
monumentality. However, when
scale is reduced, these