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ELEMENTS OF DESIGNPOINT• The two ends of a line• The intersection of two lines• The meeting of lines at thecorner of a plane or volume• The center of a field

THE LOUVRE, PARIS

PANTHEON, ROM

ELEMENTS OF DESIGNLINEA point extended becomes aline with the properties of:• Length• Direction• Position

VITRA FIRE STATION – ZAHA HADID

DESIGN PLANE A line extended becomes aplane with the properties of:• Length and width• Shape• Surface• Orientation• Position

DAVAO INTERNATIONAL AIRPORTLEANDRO LOCSIN

DESIGN VOLUME plane extended becomes avolume with the properties of:• Length, width, depth• Form and space• Surface• Orientation• Position

CULTURAL CENTRE OF THE PHILIPPINESLEANDRO LOCSIN

VISUAL PROPERTIES OF FORM

SHAPE – configuration of a form’s surfaces and edges

SIZE – the real dimensions of form (length, width and d

COLOR – The hue, intensity, and total value of a form’s surface

POSITION – form’s location

ORIENTATION – cardinal points

SPATIAL TENSION – this type of

relationship requires that the two forms be relatively closeto each other, or share a common visual trait such asshape, material or color.

THE TRANSFORMATION OF FORM

3. ADDITIVE FORMS 4 BASIC POSSIBILITIES FOR TWO FORMS TO GROUP TOGETHER:

FACE TO FACE CONTACT – this type of

relationship requires the two forms to have flat, planarsurfaces that are parallel to each othe

CENTRALIZED FORMS – consist of number of secondary forms clusteredabout dominant, central, parent forms

INTERLOCKING

VOLUMES – in this type of

relationship, two forms

interpenetrate each other’s

space

LINEAR FORMS – consist

of forms arranged sequentiallyin a row

RADIAL FORMS – are

compositions of linear forms that extendoutward from central forms in a radialmanner

CLUSTERED FORMS – consist of

forms that are grouped together by proximity or thesharing of a common visual trait

GRID FORMS – modular forms whose relationships

are regulated by three-dimensional girds

ARTICULATION OF FORM

Articulation refers to the manner in which the surfaces of aform come together to define its shape and volume

SURFACE

A. TEXTURE

- Refers to the quality

of surface treatment

. TONE – variety in the use of the gradations from black to white. “Light and Shade”

. COLOR – the warmer climates have usually produced the most colorful archit

Point 
 
A point has no dimension. To visibly mark a position in space or on theground plane, a point must be projected vertically into a linear form, as a column,obelisk, or tower. Any such columnar element is seen in plan as a point andtherefore retains the visual characteristics of a point. 
. 
 
As the prime element in the vocabulary ofform, a point can serve to mark: 
§ The two ends of a line;§ the intersection of two lines; meeting of§ the lines at the corner of a plane orvolume; and 
§ the center of a field. 
 
It marks a position in space. Conceptually, it has no length, width, or 
 
depth, and is therefore static,centralized, and directionless.A point has no shape or form. It is static in natu 
 
 
Line 
 
 
It is simply an extended point. Conceptually, a line has length, butno width or depth. It is capable of visually expressing direction, movement, andgrowth. 
 
 
A line can serve to:§ join, support, surround, or intersect othervisual elements; 
§ describe the edges of and give shape toplanes; and 
§ articulate the surfaces of plane 
 
 
 
 
 
 
LINEAR ELEMENTS 
 
Vertical linear elements, such as columns, obelisks, and towers ,have been used throughout history to commemorate significant events andestablish particular points in space 
 
 
 
Linear members that possess thenecessary material strength canperform structural functions. 
In these examples, linear elements: 
§ express movement across space; 
§ provide support for an overheadplane; and 
§ form a three-dimensional structural§ frame for architectural space. 
 
 
 
 
 
 
PLANE 
 
An extended line in a direction other than its intrinsic direction. 
 
Conceptually, a plane has length and width, but no 
 
 
 
Shape is the preliminary identifyingcharacteristic of a plane. It is determinedby the contour of the line forming theedges of a plane. 
The supplementary properties of a plane-its surface, color, pattern, and texture -affect its visual weight and stability 
 
 
 
 
PLANAR Element 
 
I n a r c h i t e c t u r a l d e s i g n , w e 
 
manipulate three generic types of planes: 
§ Overhead plane , which can be either the roofor the ceiling plane; 
§ Wall plane; and the 
§ Base plane, which can be either the ground orfloor plane. 
 
 
 
 
Volume 
 
 
A plane extended in a direction other than its intrinsic direction.Conceptually, a volume has three dimensions: length, width, and 
 
 
A volume can be either 
:A solid 
;A space displaced by mass; 
A void space contained orenclosed by planes 
 
 
VOLUMETRIC 
A volume can be either :A solid ;A space displaced by mass; 
A void space contained orenclosed by planes 
 
 
 
 
 
 
FORM 
 
The formal structure of a work—the manner of arranging andcoordinating the elements and parts of a composition so as to produce acoherent image. 
 
 
 
§ Shape - The characteristic outline or surface configuration of a particularform. Shape is the principal aspect by which we identify and categorizeforms. 
§ Size - The physical dimensions of length, width and depth of a form. Whilethese dimensions determine the proportion of form, its scale is detrmined byits size relative to other forms in its context. 
§ Color - A phenomenin of light and visual perception that may be describedin terms that may be described in terms of individual perception of hue,saturation, and tonal value. Color is the attribute that most clearlydistinguishes a form from its environment . it also affectts the visual weight ofa from. 
§ Texture - The visual and especially tactile quality given to a surface by thesize, shape, arrangement, and proportions of the parts. Texture alsodetermined the degre to which the surfaces of a form reflect or absorbincident light. 
 
 
 
 
Relatoional 
 
TOA 1 : ELEMENTS OF ARCHITECTURAL DESIGN 20 
 
POSITION 
The location of a formrelative to its environmentor the visual field withinwhich it is seen. 
 
ORIENTATION 
The direction of a formrelative to the groundplane, the compass points,other forms, or to theperson viewing the form. 
 
VISUAL INERTIA 
The degree of concentrationand stability of a form. Thev i s u a l i n e r t i a o f a f o r mdepends on its geometry aswell as its orientation relativeto the ground plane, the pullof gravity, and our line of sight. 
Ooooollllstop 
 
SHAPE 
The characteristic outline orsurface configuration of aparticular form. 
 
SHAPE 
 
The characteristic outline or surface configuration of a particular form 
 
 
 
 
 
 
 
 
SIZE 
 
 
The physical dimensions of length, width, and depth of a form.While these dimensions determine the proportions of a form, its scale isdetermined by its size relative to other forms in its conte 
 
 
 
TEXTURE 
 
The visual and especially tactile quality given to a surface by thesize, shape, arrangement, and proportions of the parts. Texture also determinesthe degree to which the surfaces of a form reflect or absorb incident 
 
 
 
 
 
 
 
 
 
 
 
 
 
COLOR 
 
 
 
A phenomenon of light and visual perception that may be 
 
described in terms of an individual’s perception of hue, saturation, and tonalvalue. 
Color is the attribute that most clearly distinguishes a form from itsenvironment. It also affects the visual weight of a form 
 
Hue: another word for color 
 
;Value: describes how light ordark the color is 
 
;Temperature: relates to thefeeling of warmth or coolnessthe color evokes; and 
 
Intensity: measures the range ofa color from dull to vivid. Alsocalled chroma and saturation 
 
 
 
COLOR WHEEL 
Primary: red, blue,and yellow 
 
Secondary: violet,green, and orange. 
 
 
Tertiary: red-violet,blue-violet, yellow-green,blue-green, red-orange,and yellow-orange. 
 
 
 
 
Psychological effect of color 
 
 
Various color have ffects on emotional aspect on people. It reflects 
 
the spirit of people who create it. Color s definitely related to the lives ofindividuals and the material things with which they are associated 
 
RED 
tends to produce range or passion 
 
Yellow 
Denotes Gayety; stimulatingcheering - to lazy, upsetting to the nervo 
 
ORANGE 
Has stimulating effect andshould usulally be used in relatively smallamounts. 
 
BROWN 
- is restful and warming but shouldbe combined with orange, yellow or goldbecause it could be depressing if usedalone 
 
GRAY- 
- suggest cold and is also depressingunless combined with at lest one liveliercolor. 
 
 
WHITE 
is cheerful, parucularly when usedwith warm colors like red, yellow andorange. 
 
PURPLE 
is seadative and soothing. Itsuggest a stately or melancholyatmosphere. Cheerfulness or cowardice,cheapness. 
 
BLUE 
is peaceful and tranquil. 
 
GREEN 
has a cooling quality and it acts asa sedative 
 
 
Warm colors: exhibit energya n d j o y ( b e s t f o r p e r s o n a lmessages). They have a tendencyto appear larger. 
 
 
C o o l c o l o r s : c o n v e ycalmness and peace (best foroffice use). They have a tendencyto appear smaller next to a warmcolor. They often work well as abackground color. 
 
 
 
 
Basic color scheme 
 
Complementary 
Any two colors opposite each other on thewheel. For example, blue and orange. 
 
Split complementary 
Use three colors. The scheme takes onecolor and matches it with the two colorsadjacent to its complementary color. Forexample, blue, yellow-orange and red-orange. 
 
Analogous 
Any three colors next to each other on thewheel. For example, orange, yellow-orange,and yellow. 
 
Triadic 
 
Any three colors that are equallyapart on the color wheel. For example, red,yellow and blue. 
Tetradic or Double complementary 
Uses four colors together, in theform of two sets of complementary colors.For example, blue and orange is paired withyellow and violet. 
 
Tints: come from adding white to hues;Shades: come from adding black to hues;Tones : mixing the hue with grey.Achromatic: use no color, just shades of grey, black and white. Also known asgreyscale. 
 
 
 
 
 
Hue: Another name for colo 
 
Chroma: Intensity or saturation of col 
 
Value: The lightness or darkness of a col 
Tint: Color + WhiteShade: Color + Black 
 
Tone: Color + Grey 
 
 
Key Color: Dominant color in a color scheme or mixture. 
A Color Scheme is a combination of colors thatharmonize with each other.• Mono-chromatic: Using one color• Complimentary: Using two colors • Analogous: Using three colors that are 
 
neighboring each other 
 
• Triadic: Using three colors that are equal in 
 
distance apa 
 
 
 
 
 
PRINCIPLES OF COMPOSITION 
 
1. Contrast 
2. Proportion 
3. Scale 
4. Balance 
5. Rhythm 
6. Unity 
7. Character 
 
Our physical impressions are made possible through contrastSilence and soundCold and smooth : warm and roughLight and dark 
 
 
1. CONTRAST OF MASS Combination of rectangular masses based upon contemporary practice 
 
2. CONTRAST OF DIRECTION Horizontal and vertical direc 
 
3. CONTRAST OF CHARACTER Showing different functions within a building by means of contrast in design 
 
4. CONTRAST OF TREATMENT Same material used in different treatment 
 
 
 
 
PROPORTION 
Proportion is largely a matter of relationships.Comparison which the eye makes between the size, shape, and tone of an object 
 
The Golden Section – line that is divided suchThat the lesser portion is to the greater as theGreater is to be the whole 
 
The Vitruvian Man 
By Leonardo Da Vinci in 1490 
“The proportions of the humanbody according to Vitruvius” 
 
 
SCALE 
Scale is a fixed proportion used in determining measurements and dimensions.Scale has reference to proportions which are good for humans. 
 
 
BALANCE 
 
Balance is equality 
It is a foundation upon which arrangement,harmony and adjustment of weights, tones,values are developed. 
 
 
AXIS The most elementary means of organizing forms and spaces in architecture. It is a line established bytwo points in space and about which forms and spaces can be arranged in a regular or irregularmanner. Although imaginary and not visible, an axis is a powerful, dominating, regulating device.Although it implies symmetry. It demands BALANCE . 
 
 
Unsymmetrical or occult balance is more subtle and elusive, and is more difficult to attain. It attempts to satisfy theeye without any effort to place equal masses at similar distances from the center of the composition. It is thegrouping, in an informal manner, of elements of varying sizes and shapes. 
 
 
 
RHYTHM 
Movement.Repetition.Spacing. 
 
UNITY 
Unity suggests harmony. If a structure has unity, it must have contrast, rhythm and scale.To have harmony, all the unrelated parts of an architectural arrangement are brought into properrelation. 
 
CHARACTER 
The elements of character grows out of the function of the building and the consideration of allthe creative principles of composition. 
 
1. Function 
2. Association 
3. Personality 
 
 
FUNCTIONAL CHARACTER 
• The most important kind of character in architecture• Purpose of the building and the reason for its erection 
 
 
 
ASSOCIATED CHARACTER 
• By association and experience, we are able to distinguish between an Oriental, a Negro, aCaucasian, and an Indian man – similar manner in Architecture 
 
 
PERSONAL CHARACTER 
• Possess characteristics which have to do with the emotional reaction set up in the mind of theobserver.• Personality in a building has more to do with the spirit of the building than its purpose. 
 
 
 
 
 
 
 
 
 
 
 
 
HUMAN FACTORS 
SOCIOCULTURAL VARIABLES 
 
 
1. PYSCHOLOGICAL CONSIDERATIONS2. PERSONAL SPACE3. PYSCHOLOGICAL AND SOCIAL SPAC 
 
 
SOCIOLOGICAL VARIABLES 
PEOPLE WITH DIFFERENT CULTURAL BACKGROUNDS VIEW ARCHITECTURAL FEATURES 
 
DIFFERENTLY 
 
1. ATTITUDE TOWARDS PRIVACY – BASED ON CULTURAL DIFFERENCES 
2. FAMILY STRUCTURE – BASED ON SOCIAL STATUS 
3. THE ROLE OF WOMEN – BASED ON RELIGION AND CULTURE 
4. RECREATIONAL PATTERNS – BASED ON RECREATIONAL PURSUITS 
5. SHOPPING HABITS 
6. JOB PATTERNS – BASED ON DISTANCE OF WORK TO HOME 
7. TECHNOLOGICAL EXPERIENCE – ADVANCEMENT IN TECHNOLOGI 
 
 
 
SOCIOLOGICAL VARIABLES 
 
PERSONAL SPACE 
1. PUBLIC – FREEDOM OF ACCESS, BUT NOT OF ACTION 
2. HOME – REGULAR FREEDOM OF BEHAVIOR 
3. INTERACTIONAL – INVISIBLE BOUNDARY AND TERRITORIAL CLAIM 
4. BODY – INVIOLATE TO THE INDIVIDUAL 
 
 
PROXEMICS 
the branch of knowledge that deals with the amount ofspace that people feel it necessary to set between 
themselves and others. 
 
 
PROXEMICS - 4 DISTANCE ZONES 
 
 
A. INTIMATE DISTANCE – 
“INVOLVEMENT WITH ANOTHER BODY” 
 
A. CLOSE PHASE – ZERO DISTANCE 
B. FAR PHASE – 0.15 TO 0.45M 
 
B. PERSONAL DISTANCE – SEPARATEDBY BUBBLE OR SPHERE 
A. CLOSE PHASE – 0.45 TO 0.75M 
B. FAR PHASE – 0.75 TO 1.20M 
 
C. SOCIAL DISTANCE – LIMIT OFDOMINATION 
A. CLOSE PHASE – 1.20 TO 2.10M 
B. FAR PHASE – 2.10 TO 3.60M 
 
D. PUBLIC DISTANCE 
A. CLOSE PHASE – 3.60 TO 7.50M 
B. FAR PHASE – 7.50 + (9M IS THEAUTOMATIC DISTANCE SET FOR PUBLIC FIGURES 
 
 
OTHER IMPORTANT TERMS 
 
OTHER IMPORTANT TERMS 
 
ANTROPOMORPHIC PROPORTIONS – systems based on the dimension andproportions of human body 
 
ANTHROPOCENTRISM – human being is the most important entity in the universe 
 
ANTHROPOMETRICS – study of measurements of the human body 
 
ANTHROPOMORPHISM – human qualities are associated with non-humanentities/events. 
 
EKISTICS – concerns the science of human settlements, including regional, city,community planning and dwelling design 
ERGONOMICS – applied science considering the human characteristics in designingdevice 
 
JUXTAPOSITION – to put side by side or close together – to pose for a painting 
 
SEMIOTICS – study of symbols 
 
SEMANTICS – study of meanings 
 
TECTONICS – art and science of shaping 
 
ANTROPOMORPHIC PROPORTIONS – systems based on the dimension andproportions of human body (pg. 108 
 
 
ANTHROPOCENTRISM – human being is the most important entity in the universe 
 
ANTHROPOMETRICS – study of measurements of the human body 
 
ANTHROPOMORPHISM – human qualities are associated with non-humanentities/events. 
 
EKISTICS – concerns the science of human settlements, including regional, city,community planning and dwelling design. 
 
 
 
ERGONOMICS – applied science considering the human characteristics in designingdevices 
 
 
JUXTAPOSITION – to put side by side or closetogether – to pose for a painting. This is oftendone in order to compare/contrast the two, toshow similarities or differences 
 
SEMANTICS – study of meaningsArchitectural semanticsMeaning is not only the first mental entity to come into consciousness, but that it isalso the entity which commonly inspires creative work. A memory image of anearlier perceived form changes in the direction of the nearest form. During thischange of the image, the subject also experiences a trend to add a meaning to whatwas originally a perception of a 'non-sensical form 
 
 
SEMANTICS – study of meanings1. Signals and Signs Symbolic signa. Indexical sign, or Index 
 
Something which had an existential relation between signifier and 
 
 
 
b. The Iconic Signs - Concern a different set of relations between signifier andsignified although, of course, there is always present an existential andtherefore indexical relation as well. Most 'functional' architecture is of thissort: pie-shaped or wedge-shaped auditoria, tube-shaped circulationcorridors, structurally-shaped bridges, hot-dog stands in the shape of liotdogs, folkhouse with a facade that looks like a real fireplace. And the use offorms and materials according to their inherent emotional overtones 'red as 
 
aggressive; passionate etc 
 
c. Symbolic sign – Where conventional usagesets the arbitrary relation between signifier 
 
and signified. 
 
Conventional use of three orders of classicalarchitecture (Doric for banks etc.masculine). 
 
A symbol is a sign which refers to the object thatit denotes by virtue of law, usually anyassociation of general ideas, which operatesto cause that symbol to be interpreted as 
referring to that object 
 
2. Symbols – For a human being, the meaning of an object in addition, appearinstead of another meaning. as a symbol of the latter. The simplest way ofunderstanding what this means is possibly to imagine that one is making asymbolical representation of a mechanical, electrical, circuit plan or plumbing 
 
device of a building 
 
3 . Expression – Both signals and symbols must be distinguished from a third kind ofmeaning, namely expression. If a face has an angry expression, this does notimply that a person entertains an emotional complex for which he exhibits asymbol. The angry facial expression forms a part of the physical and mental 
 
totality which the angry person represents. In a similar manner theARCHITECTURAL EXPRESSION forms a part. as the semantic active component inthe mental totality, which the experience of a consummate piece of architectureinvolves. Architectural expression, however is not the same as the expression ofan emotion. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Contrast 
 
Contrast create visual variety,excitement and interest to thebuilding and can be achieved by: 
 
using different sizes; 
 
different material, texture, andcolors; or 
 
manipulating the light, shade,and shadow of masses. 
 
 
Types of Contrast 
 
CONTRAST OF FORM 
§ CONTRAST OF LINE 
§ CONTRAST OF SIZe 
§ CONTRAST OF TONe 
 
CONTRAST OFFORM 
ARC DE TRIOMPH 
 
PARIS FRANCE 
I n o r d e r f o r a s h a p e t o b eintresting there must be a varietyor contrast. Square and circularareas may create diversifiedinterest. 
 
 
 
 
CONTRAST OFLINE 
 
PHILHARMONIE LUXEMBOURG 
LUXEMBOURG CITY, 
 
Christian de Portzamparc 
Line may offer contrast onaccount of it change in type orcharacter. It may be curved orstraight, regular or irregular,broken or continuous. 
 
 
 
 
CONTRASTOF SIZE 
 
VITRA HAUS 
Weil am Rhein, Germany 
Herzog and de Meuron 
Deals with objects whichmay have the same shapeand direction but may varyin size. If this change in sizeis gradual and uniform, theresult is called gradation. 
 
 
 
 
CONTRASTOF TONE 
MODERN BAHAY NABATO 
Contrast was shownbetween the roof andwalls of the house. Andthe different materialsused in ground floor wallsfrom the second floorwalls. 
 
 
 
PROPORTION 
 
The proper harmonious relation of one part to another or to the whole. 
 
 
 
Relative 
 
The relative size of two quantitiesexpressed as the quotient of one divided by theother 
 
 
Absolute 
 
Deals with the relationship between thedifferent parts of an object or the whole to thevarious parts. 
 
 
 
Proportioning system 
 
 
§ They can visually unify the multiplicity ofelements in an architectural design by havingall of its parts belong to the same family ofproportions. 
§ They can provide a sense of order in, andheighten the continuity of, a sequence ofspaces. 
§ They can establish relationships betweenthe exterior and interior elements of a building 
 
 
GOLDEN 
SECTION 
§ The Greeks recognized thedominating role the GoldenSection played in the proportions 
 
of the human body. 
 
§ Renaissance architects alsoexplored the Golden Section in 
 
their work. 
 
§ I n m o r e r e c e n t t i m e s , L eCorbusier based his Modulorsystem on the Golden Section 
 
 
 
 
 
Parthenon 
 
Athens, Greece. Ictinus andCallicrates. 
The proportioning beginsby fitting the facade into aGolden Rectangle. Each analysisthen varies from the other in itsa p p r o a c h t o p r o v i n g t h eexistence of the Golden Sectionand its effect on the dimensionsand distribution of elementsacross the facade. 
 
 
 
 
REGULATING LINES 
 
 
If the diagonals of tworectangles are either parallel orperpendicular to each other, theyindicate that the two rectangleshave similar proportions. Thesediagonals, as well as lines thatindicate the common alignment ofelements, are called regulatinglines. 
 
 
Classical orders 
 
 
T o t h e G r e e k s a n dRomans of classical antiquity,the Orders represented in theirproportioning of elements the 
perfect expression of beautyand harmony. The basic unit ofdimension was the diameter ofthe column . 
 
 
 
 
 
 
§ Tuscan 
§ Doric 
§ Ionic 
§ Corinthian 
§ Composite 
 
 
 
Renaissance Theories 
 
The architects of the Renaissance,believing that their buildings had tobelong to a higher order, returned to the 
Greek mathematical system ofproportions. 
 
 
Seven Ideal Plan Shapes for Rooms. 
 
Andrea Palladio (1508–1580) wasprobably the most influential architect of 
the Italian Renaissance. In The FourBooks on Architecture, first publishedin Venice in 1570, he followed in thefootsteps of his predecessors, Albertiand Serlio, and proposed these seven“most beautiful and proportionablemanners of rooms. ” 
 
 
 
Determining the Heights of Rooms. 
 
Palladio also proposed several methodsfor determining the height of a room so 
that it would be in proper proportion tothe room’s width and length. 
 
 
 
 
 
 
 
Modulor 
 
 
Le Corbusier developed thisproportioning system to order “thedimensions of that which containsand that which is contained.” 
He based the Modulor on both 
mathematics (the aesthetic dimensionsof the Golden Section and the FibonacciSeries), and the proportions of thehuman body (functional dimensions). 
 
 
 
The basic grid consists of threemeasures, 113, 70, and 43 centimeters,proportioned according to the GoldenSectio 
 
 
 
 
 
 
 
Ken 
 
The ken was introduced in the latter halfof Japan’s Middle Ages. 
Although it was originally used simply todesignate the interval between twocolumns and varied in size, the ken wassoon standardized for 
residentialarchitecture 
 
 
 
Anthropometry 
 
Anthropometry refers to the measurement of the size andproportions of the human body. 
It is predicated on the theory that formsand spaces in architecture are either 
containers or extensions of the humanbody and should therefore bedetermined by its dimensions 
 
 
Scale 
 
The size of something compared to a referencestandard or to the size of something else. 
 
 
 
 
Human Scale 
 
 
Human scale in architecture is based onthe dimensions and proportions of thehuman body. 
 
 
Balance 
A state of equilibrium between contrasting, opposing,or interacting elements. Also the pleasing or 
harmonious arrangement or proportion of parts orelements in a design or composition. 
 
 
 
Symmetry 
 
The exact correspondence in size, form, andarrangement of parts on opposite sides of a dividingline or plane, or about a center or axis 
 
 
Bilateral 
 
Refers to the balanced arrangement of similar orequivalent elements on opposite sides of a median axisso that only one plane can divide the whole intoessentially identical halves 
 
 
Unity temple 
 
 
Oak Park, Illinois. Frank Lloyd Wright. 
Multiple symmetries, both major andminor, can add complexity and hierarchy 
to a composition as well asaccommodate programmatic and 
contextual requirements. 
 
 
Radial symmetry 
 
The balanced arrangement of similar, radiating elementssuch that the composition can be divided into similarhalves by passing a plane at any angle around acenterpoint or along a central axis 
 
 
Hierarchy 
 
The articulation of the importance or significance of aform or space by its size, shape, or placement relative 
to the other forms and spaces of the organization 
 
 
being important or significant to anorganization, it must be made uniquelyvisible. 
This visual emphasis can be achieved byendowing a form or shape with: 
 
 
 
exceptional size; 
a unique shape; 
ora strategic location 
 
 
 
 
By size 
 
A form or space may dominate anarchitectural composition by beingsignificantly different in size from all theother elements in the composition. 
Normally, this dominance is made visibleby the sheer size of an element. 
 
 
 
By shape 
 
A form or space can be made visuallydominant and thus important by clearlydifferentiating its shape from that of theother elements in the composition. Adiscernible contrast in shape is critical, 
whether the differentiation is based on achange in geometry or regularity 
 
 
 
 
By placement 
 
A form or space may be strategicallyplaced to call attention to itself as beingthe most important element in acomposition. 
 
 
Rhythm 
 
Movement characterized by a patterned repetition oralternation of formal elements or motifs in the same 
or a modified form. 
 
 
Repetition 
 
The act or process of repeating formal elements ormotifs in a design. 
 
The simplest form of repetition is alinear pattern of redundant elements.They may be grouped according to: 
 
size;shape; ordetail characteristics 
 
 
 
 
 
 
 
 
Form 
 
The formal structure of a work—the manner ofarranging and coordinating the elements and parts of 
a composition so as to produce a coherent ima 
 
 
 
 
 
Articulation 
 
A method or manner of jointing that makes the unitedparts clear, distinct, and precise in relation to each 
other. 
 
 
A form can be articulated by: 
 
 
 
Change in material 
, color, texture, or pattern; 
Developing corners as distinct linear elements 
;Removing corners; and 
Lighting the form. 
 
 
 
 
 
 
 
 
 
Relation properties of form 
 
 
Position 
 
The location of a form relative to itsenvironment or the visual field withinwhich it is seen. 
 
 
 
Orientation 
The direction of a form relative to theground plane, the compass points, otherforms, or to the person viewing the form 
 
 
 
 
 
 
 
 
 
 
Hoffman house 
 
The color, texture, and pattern ofsurfaces articulate the existence of 
planes and influence the visual weight ofa form. 
 
 
 
 
John deere 
 
Linear patterns have the ability toemphasize the height or length of form, 
unify its surfaces, and define its texturalquality. 
The linear sun-shading devicesaccentuate the horizontality of thebuilding form. 
 
 
 
 
Cbs building 
 
New York. Eero Saarinen. 
Linear columnar elements emphasizethe verticality of this high-rise structur 
 
 
 
 
 
 
La Guade, Var, France. MarcelBreuer. 
 
The three-dimensional form of theopenings creates a texture of light,Center shade, and shadow 
 
 
Rochester New York. Louis Kahn. 
The pattern of openings and cavitiesinterrupts the continuity of the exterior Church wall planes. 
 
 
Einstien tower 
 
Rounded corners express continuity ofsurface, compactness of volume, andsoftness of form. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Circulation 
 
The passage of persons or things from one place toanother or through an area. 
Since we move in time through a sequence ofspaces, we experience a space in relation to wherewe’ve been and where we anticipate going 
 
Elements of circulation 
 
Approach 
Entrance 
Configuration of the path 
Path-space relationship 
 
 
Approach 
 
The distant view. 
Prior to actually passing into the interior of a building, 
we approach its entrance along a path. This is the firstphase of the circulation system, during which we areprepared to see, experience, and use the spaces withina building. 
 
 
Kinds of approach 
 
Frontal 
Oblique 
Spiral 
 
 
 
Frontal 
 
Leads directly to the entrance of abuilding along a straight, axial path .The visual goal that terminates theapproach is clear. 
 
 
 
Oblique 
 
Enhances the effect of perspective onthe front facade and form of a building 
 
 
 
Spiral 
 
Prolongs the sequence of the approachand emphasizes the three-dimensionalform of a building as we move around itsperimeter. 
 
 
 
 
 
 
Entrance 
 
From outside to inside 
. Entering a building, a room within a building, or a 
defined field of exterior space, involves the act ofpenetrating a vertical plane that distinguishes onespace from another and separates “here ” from“there. 
 
 
Entrances may be grouped formally intothe following categories: 
 
flush 
;projected 
; andrecesse 
 
 
Flush 
 
Maintains the continuity of the surfaceof a wall and can be deliberatelyobscured. 
 
 
Projected 
 
Forms a transitional space, announcesits function to the approach, andprovides overhead shelter 
 
 
 
 
Recessed 
 
Also provides shelter and receives aportion of exterior space into the realmof the building. 
 
 
Configuration of path 
 
The sequence of spaces. 
All paths of movement are linear in nature. And allpaths have a starting point, from which we are takenthrough a sequence of spaces to our destination 
 
 
Kinds of configuration 
 
Linear 
All paths are linear. A straight path,however, can be the primary organizingelement for a series of spaces. Inaddition, it can be curvilinear orsegmented, intersect other paths, havebranches, or form a loop 
 
Radial 
A radial configuration has linear pathsextending from r terminating at a central,common point. 
 
 
 
Spiral 
 
A spiral configuration is a single,continuous path that originates from acentral point, revolves around it, andbecomes increasingly distant from 
 
 
Grid 
 
A grid configuration consists of two setsof parallel paths that intersect at regularintervals and create square orrectangular fields of space. 
 
 
Network 
 
A network configuration consists ofpaths that connect established points inspace. 
 
 
Path space relatinship 
 
Edges, nodes, and terminations of the path. 
Paths may be related to the spaces they link in thefollowing ways: 
Pass by Spaces 
Pass throughSpaces 
Terminate in aSpace 
 
 
 
Pass by spaces 
 
The integrity of each space ismaintained; The configuration of the path isflexible; The mediating spaces can be usedto link the path with the spaces 
 
 
Form of the circulation space 
 
Corridors, halls, galleries, stairways, and rooms. 
The form of a circulation space varies according to how: 
its boundaries are defined; 
its form relates to the form of the spaces it links; its qualities of scale, proportion, light, and view are 
articulated; 
entrances open onto it; and it handles changes in level with stairs and ramps 
 
 
Enclosed 
 
Forming a public galleria or privatecorridor that relates to the spaces it linksthrough entrances in a wall plane 
 
 
Open on one side 
 
Forming a balcony or gallery thatprovides visual and spatial continuitywith the spaces it links. 
 
Open on both sides 
 
Forming a colonnaded passageway thatbecomes a physical extension of thespace it passes through.

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ELEMENTS OF DESIGNPOINT• The two ends of a line• The intersection of two lines• The meeting of lines at thecorner of a plane or volume• The center of a field

THE LOUVRE, PARIS

PANTHEON, ROM

ELEMENTS OF DESIGNLINEA point extended becomes aline with the properties of:• Length• Direction• Position

VITRA FIRE STATION – ZAHA HADID

DESIGN PLANE A line extended becomes aplane with the properties of:• Length and width• Shape• Surface• Orientation• Position

DAVAO INTERNATIONAL AIRPORTLEANDRO LOCSIN

DESIGN VOLUME plane extended becomes avolume with the properties of:• Length, width, depth• Form and space• Surface• Orientation• Position

CULTURAL CENTRE OF THE PHILIPPINESLEANDRO LOCSIN

VISUAL PROPERTIES OF FORM

SHAPE – configuration of a form’s surfaces and edges

SIZE – the real dimensions of form (length, width and d

COLOR – The hue, intensity, and total value of a form’s surface

POSITION – form’s location

ORIENTATION – cardinal points

SPATIAL TENSION – this type of

relationship requires that the two forms be relatively closeto each other, or share a common visual trait such asshape, material or color.

THE TRANSFORMATION OF FORM

3. ADDITIVE FORMS 4 BASIC POSSIBILITIES FOR TWO FORMS TO GROUP TOGETHER:

FACE TO FACE CONTACT – this type of

relationship requires the two forms to have flat, planarsurfaces that are parallel to each othe

CENTRALIZED FORMS – consist of number of secondary forms clusteredabout dominant, central, parent forms

INTERLOCKING

VOLUMES – in this type of

relationship, two forms

interpenetrate each other’s

space

LINEAR FORMS – consist

of forms arranged sequentiallyin a row

RADIAL FORMS – are

compositions of linear forms that extendoutward from central forms in a radialmanner

CLUSTERED FORMS – consist of

forms that are grouped together by proximity or thesharing of a common visual trait

GRID FORMS – modular forms whose relationships

are regulated by three-dimensional girds

ARTICULATION OF FORM

Articulation refers to the manner in which the surfaces of aform come together to define its shape and volume

SURFACE

A. TEXTURE

- Refers to the quality

of surface treatment

. TONE – variety in the use of the gradations from black to white. “Light and Shade”

. COLOR – the warmer climates have usually produced the most colorful archit

Point 
 
A point has no dimension. To visibly mark a position in space or on theground plane, a point must be projected vertically into a linear form, as a column,obelisk, or tower. Any such columnar element is seen in plan as a point andtherefore retains the visual characteristics of a point. 
. 
 
As the prime element in the vocabulary ofform, a point can serve to mark: 
§ The two ends of a line;§ the intersection of two lines; meeting of§ the lines at the corner of a plane orvolume; and 
§ the center of a field. 
 
It marks a position in space. Conceptually, it has no length, width, or 
 
depth, and is therefore static,centralized, and directionless.A point has no shape or form. It is static in natu 
 
 
Line 
 
 
It is simply an extended point. Conceptually, a line has length, butno width or depth. It is capable of visually expressing direction, movement, andgrowth. 
 
 
A line can serve to:§ join, support, surround, or intersect othervisual elements; 
§ describe the edges of and give shape toplanes; and 
§ articulate the surfaces of plane 
 
 
 
 
 
 
LINEAR ELEMENTS 
 
Vertical linear elements, such as columns, obelisks, and towers ,have been used throughout history to commemorate significant events andestablish particular points in space 
 
 
 
Linear members that possess thenecessary material strength canperform structural functions. 
In these examples, linear elements: 
§ express movement across space; 
§ provide support for an overheadplane; and 
§ form a three-dimensional structural§ frame for architectural space. 
 
 
 
 
 
 
PLANE 
 
An extended line in a direction other than its intrinsic direction. 
 
Conceptually, a plane has length and width, but no 
 
 
 
Shape is the preliminary identifyingcharacteristic of a plane. It is determinedby the contour of the line forming theedges of a plane. 
The supplementary properties of a plane-its surface, color, pattern, and texture -affect its visual weight and stability 
 
 
 
 
PLANAR Element 
 
I n a r c h i t e c t u r a l d e s i g n , w e 
 
manipulate three generic types of planes: 
§ Overhead plane , which can be either the roofor the ceiling plane; 
§ Wall plane; and the 
§ Base plane, which can be either the ground orfloor plane. 
 
 
 
 
Volume 
 
 
A plane extended in a direction other than its intrinsic direction.Conceptually, a volume has three dimensions: length, width, and 
 
 
A volume can be either 
:A solid 
;A space displaced by mass; 
A void space contained orenclosed by planes 
 
 
VOLUMETRIC 
A volume can be either :A solid ;A space displaced by mass; 
A void space contained orenclosed by planes 
 
 
 
 
 
 
FORM 
 
The formal structure of a work—the manner of arranging andcoordinating the elements and parts of a composition so as to produce acoherent image. 
 
 
 
§ Shape - The characteristic outline or surface configuration of a particularform. Shape is the principal aspect by which we identify and categorizeforms. 
§ Size - The physical dimensions of length, width and depth of a form. Whilethese dimensions determine the proportion of form, its scale is detrmined byits size relative to other forms in its context. 
§ Color - A phenomenin of light and visual perception that may be describedin terms that may be described in terms of individual perception of hue,saturation, and tonal value. Color is the attribute that most clearlydistinguishes a form from its environment . it also affectts the visual weight ofa from. 
§ Texture - The visual and especially tactile quality given to a surface by thesize, shape, arrangement, and proportions of the parts. Texture alsodetermined the degre to which the surfaces of a form reflect or absorbincident light. 
 
 
 
 
Relatoional 
 
TOA 1 : ELEMENTS OF ARCHITECTURAL DESIGN 20 
 
POSITION 
The location of a formrelative to its environmentor the visual field withinwhich it is seen. 
 
ORIENTATION 
The direction of a formrelative to the groundplane, the compass points,other forms, or to theperson viewing the form. 
 
VISUAL INERTIA 
The degree of concentrationand stability of a form. Thev i s u a l i n e r t i a o f a f o r mdepends on its geometry aswell as its orientation relativeto the ground plane, the pullof gravity, and our line of sight. 
Ooooollllstop 
 
SHAPE 
The characteristic outline orsurface configuration of aparticular form. 
 
SHAPE 
 
The characteristic outline or surface configuration of a particular form 
 
 
 
 
 
 
 
 
SIZE 
 
 
The physical dimensions of length, width, and depth of a form.While these dimensions determine the proportions of a form, its scale isdetermined by its size relative to other forms in its conte 
 
 
 
TEXTURE 
 
The visual and especially tactile quality given to a surface by thesize, shape, arrangement, and proportions of the parts. Texture also determinesthe degree to which the surfaces of a form reflect or absorb incident 
 
 
 
 
 
 
 
 
 
 
 
 
 
COLOR 
 
 
 
A phenomenon of light and visual perception that may be 
 
described in terms of an individual’s perception of hue, saturation, and tonalvalue. 
Color is the attribute that most clearly distinguishes a form from itsenvironment. It also affects the visual weight of a form 
 
Hue: another word for color 
 
;Value: describes how light ordark the color is 
 
;Temperature: relates to thefeeling of warmth or coolnessthe color evokes; and 
 
Intensity: measures the range ofa color from dull to vivid. Alsocalled chroma and saturation 
 
 
 
COLOR WHEEL 
Primary: red, blue,and yellow 
 
Secondary: violet,green, and orange. 
 
 
Tertiary: red-violet,blue-violet, yellow-green,blue-green, red-orange,and yellow-orange. 
 
 
 
 
Psychological effect of color 
 
 
Various color have ffects on emotional aspect on people. It reflects 
 
the spirit of people who create it. Color s definitely related to the lives ofindividuals and the material things with which they are associated 
 
RED 
tends to produce range or passion 
 
Yellow 
Denotes Gayety; stimulatingcheering - to lazy, upsetting to the nervo 
 
ORANGE 
Has stimulating effect andshould usulally be used in relatively smallamounts. 
 
BROWN 
- is restful and warming but shouldbe combined with orange, yellow or goldbecause it could be depressing if usedalone 
 
GRAY- 
- suggest cold and is also depressingunless combined with at lest one liveliercolor. 
 
 
WHITE 
is cheerful, parucularly when usedwith warm colors like red, yellow andorange. 
 
PURPLE 
is seadative and soothing. Itsuggest a stately or melancholyatmosphere. Cheerfulness or cowardice,cheapness. 
 
BLUE 
is peaceful and tranquil. 
 
GREEN 
has a cooling quality and it acts asa sedative 
 
 
Warm colors: exhibit energya n d j o y ( b e s t f o r p e r s o n a lmessages). They have a tendencyto appear larger. 
 
 
C o o l c o l o r s : c o n v e ycalmness and peace (best foroffice use). They have a tendencyto appear smaller next to a warmcolor. They often work well as abackground color. 
 
 
 
 
Basic color scheme 
 
Complementary 
Any two colors opposite each other on thewheel. For example, blue and orange. 
 
Split complementary 
Use three colors. The scheme takes onecolor and matches it with the two colorsadjacent to its complementary color. Forexample, blue, yellow-orange and red-orange. 
 
Analogous 
Any three colors next to each other on thewheel. For example, orange, yellow-orange,and yellow. 
 
Triadic 
 
Any three colors that are equallyapart on the color wheel. For example, red,yellow and blue. 
Tetradic or Double complementary 
Uses four colors together, in theform of two sets of complementary colors.For example, blue and orange is paired withyellow and violet. 
 
Tints: come from adding white to hues;Shades: come from adding black to hues;Tones : mixing the hue with grey.Achromatic: use no color, just shades of grey, black and white. Also known asgreyscale. 
 
 
 
 
 
Hue: Another name for colo 
 
Chroma: Intensity or saturation of col 
 
Value: The lightness or darkness of a col 
Tint: Color + WhiteShade: Color + Black 
 
Tone: Color + Grey 
 
 
Key Color: Dominant color in a color scheme or mixture. 
A Color Scheme is a combination of colors thatharmonize with each other.• Mono-chromatic: Using one color• Complimentary: Using two colors • Analogous: Using three colors that are 
 
neighboring each other 
 
• Triadic: Using three colors that are equal in 
 
distance apa 
 
 
 
 
 
PRINCIPLES OF COMPOSITION 
 
1. Contrast 
2. Proportion 
3. Scale 
4. Balance 
5. Rhythm 
6. Unity 
7. Character 
 
Our physical impressions are made possible through contrastSilence and soundCold and smooth : warm and roughLight and dark 
 
 
1. CONTRAST OF MASS Combination of rectangular masses based upon contemporary practice 
 
2. CONTRAST OF DIRECTION Horizontal and vertical direc 
 
3. CONTRAST OF CHARACTER Showing different functions within a building by means of contrast in design 
 
4. CONTRAST OF TREATMENT Same material used in different treatment 
 
 
 
 
PROPORTION 
Proportion is largely a matter of relationships.Comparison which the eye makes between the size, shape, and tone of an object 
 
The Golden Section – line that is divided suchThat the lesser portion is to the greater as theGreater is to be the whole 
 
The Vitruvian Man 
By Leonardo Da Vinci in 1490 
“The proportions of the humanbody according to Vitruvius” 
 
 
SCALE 
Scale is a fixed proportion used in determining measurements and dimensions.Scale has reference to proportions which are good for humans. 
 
 
BALANCE 
 
Balance is equality 
It is a foundation upon which arrangement,harmony and adjustment of weights, tones,values are developed. 
 
 
AXIS The most elementary means of organizing forms and spaces in architecture. It is a line established bytwo points in space and about which forms and spaces can be arranged in a regular or irregularmanner. Although imaginary and not visible, an axis is a powerful, dominating, regulating device.Although it implies symmetry. It demands BALANCE . 
 
 
Unsymmetrical or occult balance is more subtle and elusive, and is more difficult to attain. It attempts to satisfy theeye without any effort to place equal masses at similar distances from the center of the composition. It is thegrouping, in an informal manner, of elements of varying sizes and shapes. 
 
 
 
RHYTHM 
Movement.Repetition.Spacing. 
 
UNITY 
Unity suggests harmony. If a structure has unity, it must have contrast, rhythm and scale.To have harmony, all the unrelated parts of an architectural arrangement are brought into properrelation. 
 
CHARACTER 
The elements of character grows out of the function of the building and the consideration of allthe creative principles of composition. 
 
1. Function 
2. Association 
3. Personality 
 
 
FUNCTIONAL CHARACTER 
• The most important kind of character in architecture• Purpose of the building and the reason for its erection 
 
 
 
ASSOCIATED CHARACTER 
• By association and experience, we are able to distinguish between an Oriental, a Negro, aCaucasian, and an Indian man – similar manner in Architecture 
 
 
PERSONAL CHARACTER 
• Possess characteristics which have to do with the emotional reaction set up in the mind of theobserver.• Personality in a building has more to do with the spirit of the building than its purpose. 
 
 
 
 
 
 
 
 
 
 
 
 
HUMAN FACTORS 
SOCIOCULTURAL VARIABLES 
 
 
1. PYSCHOLOGICAL CONSIDERATIONS2. PERSONAL SPACE3. PYSCHOLOGICAL AND SOCIAL SPAC 
 
 
SOCIOLOGICAL VARIABLES 
PEOPLE WITH DIFFERENT CULTURAL BACKGROUNDS VIEW ARCHITECTURAL FEATURES 
 
DIFFERENTLY 
 
1. ATTITUDE TOWARDS PRIVACY – BASED ON CULTURAL DIFFERENCES 
2. FAMILY STRUCTURE – BASED ON SOCIAL STATUS 
3. THE ROLE OF WOMEN – BASED ON RELIGION AND CULTURE 
4. RECREATIONAL PATTERNS – BASED ON RECREATIONAL PURSUITS 
5. SHOPPING HABITS 
6. JOB PATTERNS – BASED ON DISTANCE OF WORK TO HOME 
7. TECHNOLOGICAL EXPERIENCE – ADVANCEMENT IN TECHNOLOGI 
 
 
 
SOCIOLOGICAL VARIABLES 
 
PERSONAL SPACE 
1. PUBLIC – FREEDOM OF ACCESS, BUT NOT OF ACTION 
2. HOME – REGULAR FREEDOM OF BEHAVIOR 
3. INTERACTIONAL – INVISIBLE BOUNDARY AND TERRITORIAL CLAIM 
4. BODY – INVIOLATE TO THE INDIVIDUAL 
 
 
PROXEMICS 
the branch of knowledge that deals with the amount ofspace that people feel it necessary to set between 
themselves and others. 
 
 
PROXEMICS - 4 DISTANCE ZONES 
 
 
A. INTIMATE DISTANCE – 
“INVOLVEMENT WITH ANOTHER BODY” 
 
A. CLOSE PHASE – ZERO DISTANCE 
B. FAR PHASE – 0.15 TO 0.45M 
 
B. PERSONAL DISTANCE – SEPARATEDBY BUBBLE OR SPHERE 
A. CLOSE PHASE – 0.45 TO 0.75M 
B. FAR PHASE – 0.75 TO 1.20M 
 
C. SOCIAL DISTANCE – LIMIT OFDOMINATION 
A. CLOSE PHASE – 1.20 TO 2.10M 
B. FAR PHASE – 2.10 TO 3.60M 
 
D. PUBLIC DISTANCE 
A. CLOSE PHASE – 3.60 TO 7.50M 
B. FAR PHASE – 7.50 + (9M IS THEAUTOMATIC DISTANCE SET FOR PUBLIC FIGURES 
 
 
OTHER IMPORTANT TERMS 
 
OTHER IMPORTANT TERMS 
 
ANTROPOMORPHIC PROPORTIONS – systems based on the dimension andproportions of human body 
 
ANTHROPOCENTRISM – human being is the most important entity in the universe 
 
ANTHROPOMETRICS – study of measurements of the human body 
 
ANTHROPOMORPHISM – human qualities are associated with non-humanentities/events. 
 
EKISTICS – concerns the science of human settlements, including regional, city,community planning and dwelling design 
ERGONOMICS – applied science considering the human characteristics in designingdevice 
 
JUXTAPOSITION – to put side by side or close together – to pose for a painting 
 
SEMIOTICS – study of symbols 
 
SEMANTICS – study of meanings 
 
TECTONICS – art and science of shaping 
 
ANTROPOMORPHIC PROPORTIONS – systems based on the dimension andproportions of human body (pg. 108 
 
 
ANTHROPOCENTRISM – human being is the most important entity in the universe 
 
ANTHROPOMETRICS – study of measurements of the human body 
 
ANTHROPOMORPHISM – human qualities are associated with non-humanentities/events. 
 
EKISTICS – concerns the science of human settlements, including regional, city,community planning and dwelling design. 
 
 
 
ERGONOMICS – applied science considering the human characteristics in designingdevices 
 
 
JUXTAPOSITION – to put side by side or closetogether – to pose for a painting. This is oftendone in order to compare/contrast the two, toshow similarities or differences 
 
SEMANTICS – study of meaningsArchitectural semanticsMeaning is not only the first mental entity to come into consciousness, but that it isalso the entity which commonly inspires creative work. A memory image of anearlier perceived form changes in the direction of the nearest form. During thischange of the image, the subject also experiences a trend to add a meaning to whatwas originally a perception of a 'non-sensical form 
 
 
SEMANTICS – study of meanings1. Signals and Signs Symbolic signa. Indexical sign, or Index 
 
Something which had an existential relation between signifier and 
 
 
 
b. The Iconic Signs - Concern a different set of relations between signifier andsignified although, of course, there is always present an existential andtherefore indexical relation as well. Most 'functional' architecture is of thissort: pie-shaped or wedge-shaped auditoria, tube-shaped circulationcorridors, structurally-shaped bridges, hot-dog stands in the shape of liotdogs, folkhouse with a facade that looks like a real fireplace. And the use offorms and materials according to their inherent emotional overtones 'red as 
 
aggressive; passionate etc 
 
c. Symbolic sign – Where conventional usagesets the arbitrary relation between signifier 
 
and signified. 
 
Conventional use of three orders of classicalarchitecture (Doric for banks etc.masculine). 
 
A symbol is a sign which refers to the object thatit denotes by virtue of law, usually anyassociation of general ideas, which operatesto cause that symbol to be interpreted as 
referring to that object 
 
2. Symbols – For a human being, the meaning of an object in addition, appearinstead of another meaning. as a symbol of the latter. The simplest way ofunderstanding what this means is possibly to imagine that one is making asymbolical representation of a mechanical, electrical, circuit plan or plumbing 
 
device of a building 
 
3 . Expression – Both signals and symbols must be distinguished from a third kind ofmeaning, namely expression. If a face has an angry expression, this does notimply that a person entertains an emotional complex for which he exhibits asymbol. The angry facial expression forms a part of the physical and mental 
 
totality which the angry person represents. In a similar manner theARCHITECTURAL EXPRESSION forms a part. as the semantic active component inthe mental totality, which the experience of a consummate piece of architectureinvolves. Architectural expression, however is not the same as the expression ofan emotion. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Contrast 
 
Contrast create visual variety,excitement and interest to thebuilding and can be achieved by: 
 
using different sizes; 
 
different material, texture, andcolors; or 
 
manipulating the light, shade,and shadow of masses. 
 
 
Types of Contrast 
 
CONTRAST OF FORM 
§ CONTRAST OF LINE 
§ CONTRAST OF SIZe 
§ CONTRAST OF TONe 
 
CONTRAST OFFORM 
ARC DE TRIOMPH 
 
PARIS FRANCE 
I n o r d e r f o r a s h a p e t o b eintresting there must be a varietyor contrast. Square and circularareas may create diversifiedinterest. 
 
 
 
 
CONTRAST OFLINE 
 
PHILHARMONIE LUXEMBOURG 
LUXEMBOURG CITY, 
 
Christian de Portzamparc 
Line may offer contrast onaccount of it change in type orcharacter. It may be curved orstraight, regular or irregular,broken or continuous. 
 
 
 
 
CONTRASTOF SIZE 
 
VITRA HAUS 
Weil am Rhein, Germany 
Herzog and de Meuron 
Deals with objects whichmay have the same shapeand direction but may varyin size. If this change in sizeis gradual and uniform, theresult is called gradation. 
 
 
 
 
CONTRASTOF TONE 
MODERN BAHAY NABATO 
Contrast was shownbetween the roof andwalls of the house. Andthe different materialsused in ground floor wallsfrom the second floorwalls. 
 
 
 
PROPORTION 
 
The proper harmonious relation of one part to another or to the whole. 
 
 
 
Relative 
 
The relative size of two quantitiesexpressed as the quotient of one divided by theother 
 
 
Absolute 
 
Deals with the relationship between thedifferent parts of an object or the whole to thevarious parts. 
 
 
 
Proportioning system 
 
 
§ They can visually unify the multiplicity ofelements in an architectural design by havingall of its parts belong to the same family ofproportions. 
§ They can provide a sense of order in, andheighten the continuity of, a sequence ofspaces. 
§ They can establish relationships betweenthe exterior and interior elements of a building 
 
 
GOLDEN 
SECTION 
§ The Greeks recognized thedominating role the GoldenSection played in the proportions 
 
of the human body. 
 
§ Renaissance architects alsoexplored the Golden Section in 
 
their work. 
 
§ I n m o r e r e c e n t t i m e s , L eCorbusier based his Modulorsystem on the Golden Section 
 
 
 
 
 
Parthenon 
 
Athens, Greece. Ictinus andCallicrates. 
The proportioning beginsby fitting the facade into aGolden Rectangle. Each analysisthen varies from the other in itsa p p r o a c h t o p r o v i n g t h eexistence of the Golden Sectionand its effect on the dimensionsand distribution of elementsacross the facade. 
 
 
 
 
REGULATING LINES 
 
 
If the diagonals of tworectangles are either parallel orperpendicular to each other, theyindicate that the two rectangleshave similar proportions. Thesediagonals, as well as lines thatindicate the common alignment ofelements, are called regulatinglines. 
 
 
Classical orders 
 
 
T o t h e G r e e k s a n dRomans of classical antiquity,the Orders represented in theirproportioning of elements the 
perfect expression of beautyand harmony. The basic unit ofdimension was the diameter ofthe column . 
 
 
 
 
 
 
§ Tuscan 
§ Doric 
§ Ionic 
§ Corinthian 
§ Composite 
 
 
 
Renaissance Theories 
 
The architects of the Renaissance,believing that their buildings had tobelong to a higher order, returned to the 
Greek mathematical system ofproportions. 
 
 
Seven Ideal Plan Shapes for Rooms. 
 
Andrea Palladio (1508–1580) wasprobably the most influential architect of 
the Italian Renaissance. In The FourBooks on Architecture, first publishedin Venice in 1570, he followed in thefootsteps of his predecessors, Albertiand Serlio, and proposed these seven“most beautiful and proportionablemanners of rooms. ” 
 
 
 
Determining the Heights of Rooms. 
 
Palladio also proposed several methodsfor determining the height of a room so 
that it would be in proper proportion tothe room’s width and length. 
 
 
 
 
 
 
 
Modulor 
 
 
Le Corbusier developed thisproportioning system to order “thedimensions of that which containsand that which is contained.” 
He based the Modulor on both 
mathematics (the aesthetic dimensionsof the Golden Section and the FibonacciSeries), and the proportions of thehuman body (functional dimensions). 
 
 
 
The basic grid consists of threemeasures, 113, 70, and 43 centimeters,proportioned according to the GoldenSectio 
 
 
 
 
 
 
 
Ken 
 
The ken was introduced in the latter halfof Japan’s Middle Ages. 
Although it was originally used simply todesignate the interval between twocolumns and varied in size, the ken wassoon standardized for 
residentialarchitecture 
 
 
 
Anthropometry 
 
Anthropometry refers to the measurement of the size andproportions of the human body. 
It is predicated on the theory that formsand spaces in architecture are either 
containers or extensions of the humanbody and should therefore bedetermined by its dimensions 
 
 
Scale 
 
The size of something compared to a referencestandard or to the size of something else. 
 
 
 
 
Human Scale 
 
 
Human scale in architecture is based onthe dimensions and proportions of thehuman body. 
 
 
Balance 
A state of equilibrium between contrasting, opposing,or interacting elements. Also the pleasing or 
harmonious arrangement or proportion of parts orelements in a design or composition. 
 
 
 
Symmetry 
 
The exact correspondence in size, form, andarrangement of parts on opposite sides of a dividingline or plane, or about a center or axis 
 
 
Bilateral 
 
Refers to the balanced arrangement of similar orequivalent elements on opposite sides of a median axisso that only one plane can divide the whole intoessentially identical halves 
 
 
Unity temple 
 
 
Oak Park, Illinois. Frank Lloyd Wright. 
Multiple symmetries, both major andminor, can add complexity and hierarchy 
to a composition as well asaccommodate programmatic and 
contextual requirements. 
 
 
Radial symmetry 
 
The balanced arrangement of similar, radiating elementssuch that the composition can be divided into similarhalves by passing a plane at any angle around acenterpoint or along a central axis 
 
 
Hierarchy 
 
The articulation of the importance or significance of aform or space by its size, shape, or placement relative 
to the other forms and spaces of the organization 
 
 
being important or significant to anorganization, it must be made uniquelyvisible. 
This visual emphasis can be achieved byendowing a form or shape with: 
 
 
 
exceptional size; 
a unique shape; 
ora strategic location 
 
 
 
 
By size 
 
A form or space may dominate anarchitectural composition by beingsignificantly different in size from all theother elements in the composition. 
Normally, this dominance is made visibleby the sheer size of an element. 
 
 
 
By shape 
 
A form or space can be made visuallydominant and thus important by clearlydifferentiating its shape from that of theother elements in the composition. Adiscernible contrast in shape is critical, 
whether the differentiation is based on achange in geometry or regularity 
 
 
 
 
By placement 
 
A form or space may be strategicallyplaced to call attention to itself as beingthe most important element in acomposition. 
 
 
Rhythm 
 
Movement characterized by a patterned repetition oralternation of formal elements or motifs in the same 
or a modified form. 
 
 
Repetition 
 
The act or process of repeating formal elements ormotifs in a design. 
 
The simplest form of repetition is alinear pattern of redundant elements.They may be grouped according to: 
 
size;shape; ordetail characteristics 
 
 
 
 
 
 
 
 
Form 
 
The formal structure of a work—the manner ofarranging and coordinating the elements and parts of 
a composition so as to produce a coherent ima 
 
 
 
 
 
Articulation 
 
A method or manner of jointing that makes the unitedparts clear, distinct, and precise in relation to each 
other. 
 
 
A form can be articulated by: 
 
 
 
Change in material 
, color, texture, or pattern; 
Developing corners as distinct linear elements 
;Removing corners; and 
Lighting the form. 
 
 
 
 
 
 
 
 
 
Relation properties of form 
 
 
Position 
 
The location of a form relative to itsenvironment or the visual field withinwhich it is seen. 
 
 
 
Orientation 
The direction of a form relative to theground plane, the compass points, otherforms, or to the person viewing the form 
 
 
 
 
 
 
 
 
 
 
Hoffman house 
 
The color, texture, and pattern ofsurfaces articulate the existence of 
planes and influence the visual weight ofa form. 
 
 
 
 
John deere 
 
Linear patterns have the ability toemphasize the height or length of form, 
unify its surfaces, and define its texturalquality. 
The linear sun-shading devicesaccentuate the horizontality of thebuilding form. 
 
 
 
 
Cbs building 
 
New York. Eero Saarinen. 
Linear columnar elements emphasizethe verticality of this high-rise structur 
 
 
 
 
 
 
La Guade, Var, France. MarcelBreuer. 
 
The three-dimensional form of theopenings creates a texture of light,Center shade, and shadow 
 
 
Rochester New York. Louis Kahn. 
The pattern of openings and cavitiesinterrupts the continuity of the exterior Church wall planes. 
 
 
Einstien tower 
 
Rounded corners express continuity ofsurface, compactness of volume, andsoftness of form. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Circulation 
 
The passage of persons or things from one place toanother or through an area. 
Since we move in time through a sequence ofspaces, we experience a space in relation to wherewe’ve been and where we anticipate going 
 
Elements of circulation 
 
Approach 
Entrance 
Configuration of the path 
Path-space relationship 
 
 
Approach 
 
The distant view. 
Prior to actually passing into the interior of a building, 
we approach its entrance along a path. This is the firstphase of the circulation system, during which we areprepared to see, experience, and use the spaces withina building. 
 
 
Kinds of approach 
 
Frontal 
Oblique 
Spiral 
 
 
 
Frontal 
 
Leads directly to the entrance of abuilding along a straight, axial path .The visual goal that terminates theapproach is clear. 
 
 
 
Oblique 
 
Enhances the effect of perspective onthe front facade and form of a building 
 
 
 
Spiral 
 
Prolongs the sequence of the approachand emphasizes the three-dimensionalform of a building as we move around itsperimeter. 
 
 
 
 
 
 
Entrance 
 
From outside to inside 
. Entering a building, a room within a building, or a 
defined field of exterior space, involves the act ofpenetrating a vertical plane that distinguishes onespace from another and separates “here ” from“there. 
 
 
Entrances may be grouped formally intothe following categories: 
 
flush 
;projected 
; andrecesse 
 
 
Flush 
 
Maintains the continuity of the surfaceof a wall and can be deliberatelyobscured. 
 
 
Projected 
 
Forms a transitional space, announcesits function to the approach, andprovides overhead shelter 
 
 
 
 
Recessed 
 
Also provides shelter and receives aportion of exterior space into the realmof the building. 
 
 
Configuration of path 
 
The sequence of spaces. 
All paths of movement are linear in nature. And allpaths have a starting point, from which we are takenthrough a sequence of spaces to our destination 
 
 
Kinds of configuration 
 
Linear 
All paths are linear. A straight path,however, can be the primary organizingelement for a series of spaces. Inaddition, it can be curvilinear orsegmented, intersect other paths, havebranches, or form a loop 
 
Radial 
A radial configuration has linear pathsextending from r terminating at a central,common point. 
 
 
 
Spiral 
 
A spiral configuration is a single,continuous path that originates from acentral point, revolves around it, andbecomes increasingly distant from 
 
 
Grid 
 
A grid configuration consists of two setsof parallel paths that intersect at regularintervals and create square orrectangular fields of space. 
 
 
Network 
 
A network configuration consists ofpaths that connect established points inspace. 
 
 
Path space relatinship 
 
Edges, nodes, and terminations of the path. 
Paths may be related to the spaces they link in thefollowing ways: 
Pass by Spaces 
Pass throughSpaces 
Terminate in aSpace 
 
 
 
Pass by spaces 
 
The integrity of each space ismaintained; The configuration of the path isflexible; The mediating spaces can be usedto link the path with the spaces 
 
 
Form of the circulation space 
 
Corridors, halls, galleries, stairways, and rooms. 
The form of a circulation space varies according to how: 
its boundaries are defined; 
its form relates to the form of the spaces it links; its qualities of scale, proportion, light, and view are 
articulated; 
entrances open onto it; and it handles changes in level with stairs and ramps 
 
 
Enclosed 
 
Forming a public galleria or privatecorridor that relates to the spaces it linksthrough entrances in a wall plane 
 
 
Open on one side 
 
Forming a balcony or gallery thatprovides visual and spatial continuitywith the spaces it links. 
 
Open on both sides 
 
Forming a colonnaded passageway thatbecomes a physical extension of thespace it passes through.