THEORY OF ARCHITECTURE

ARCHITECTURE INFLUENCES
ACTIVITIES OF MAN
1. Desire for preservation food, shelter, clothing & security.
2. Desire for recognition prestige, pride & ambition, social status, physical
supremacy, intellectual attainment.
Result: Skyscraper, palaces, cathedrals, monuments
3. Desire for response love, friendship, sociability
Result: fraternal bldgs, city clubs, banquet halls, ball rooms, living room
4. Desire for self expression do things in his own particular way
Result: theaters, museum, stadia, bowling alleys, gymnasium
5. Activities for security & protection
a. Physical Police, military station
b. Social govt. & civic bldg.
c. Economic SSS, GSIS. PAG-IBIG
INFLUENCES OF NATURE
1. Climate - Habits & temperament of people
Elements of Climate
Rain
Sun
Humidity/moisture
Effects on Architecture
a. PLANS
i. Warm climate more open and often include patios or courts.
ii. Cold climate compact in arrangement.
b. STRUCTURAL ELEMENTS
i. Past load bearing & thick walls to carry the load of floors and the
roof and to resist extreme temperature and protect man from his
enemies.
ii. Modern to protect his investment from deprecation and himself
from the curiosity of his neighbors.
c. PROTECTIVE ELEMENTS
i. Warm climate flat & colorful roof.[p]
ii. Cold climate steeper & less colorful roof.[p]
d. CIRCULATORY ELEMENTS
Windows- light & circulation of air
Doors, stairs, corridors human traffic & materials.
i. Warm climate small windows, not admit too much light producing
heat & glare. [p]
ii. Cold climate large windows, capture great amount of light and
heat interior [p].
e. DECORATIVE ELEMENTS
i. Warm climate mouldings are unnecessary & undesirable; curves
should be flatter & more subtle.
ii. Cold climate sculpture & mouldings are deeply curved and
undercut to catch max amount of light.
Color decorative element in warm countries.
2. Topography general terrain/contour of the surface of the entire country.
a. MOUNTAIN REGIONS Informal levels of buildings
b. LEVEL COUNTRY Formal/balance scheme.
Geological (Elements) Condition
Types of raw materials available
Types of mineral available
Structural strength of the earth
Seismological condition
Effects
height limitation of building

 structural system
material adaptable for structural system
materials
3. Materials
a. Past certain materials for local use influence the development of
indigenous architecture.
INFLUENCE OF MAN
1. Periods different architectural character in different periods of architecture is
shown in the interest of man at that time.
2. Mans Personality by his appearance, something is known of his interest from
the type of house he lives.
3. Mans Interest mans interest & activities are directly responsible for the type of
architecture he develops.
a. House shelter
b. Factory a place of work & to produce a commodity of exchange
c. Church spiritual relaxation & opportunity of worship
4. Public Opinion impact to people
a. Liberal minded
b. Conservative
5. Morality
(added notes)
1. Social conditions
a. Effects of Architecture
i. System of planning
ii. Space requirement
iii. Type of appearance of building
iv. Progressive & conservative side
v. Protective feature
2. Political conditions
3. Economic conditions
4. Religion
5. Traditions & customs
6. Ideology
INFLUENCES OF TIME
1. Culture
2. Science & Technology
PRINCIPLES OF DESIGNE ESSENTIALS OF STRUCTURE
THE INVISIBLE STRUCTURE
- Plan
- We should proceed from within to without.
THE VISIBLE STRUCTURE
- Form and surface
- Volume/mass enclose space
1. Form
a. Mass/volume/3 dimension
i. Direction vertical & horizontal axis
ii. Shape geometric qualities
2. Surface
b. Area surface with 2 dimension as in faade of the building
i. Texture surface treatment
ii. Tone light & shade
iii. Color spectrum of hues
Mass form deals with shape & figure is 3 dimensional (architectural discussion)
Volume plane extended in a direction other than intrinsic direction.
dimension(length, width, depth)
Form primary characteristic of a volume
Points (vertices) planes come together

Planes (surfaces) limits/boundaries of a volume

Lines (edges) two planes meet
Visual Properties of Form
1. Shape principal identifying characteristic of form.
2. Size real dimension of forms (length, width, depth)
3. Color hue, intensity, total value of forms surface; also affects the visual weight
of form
4. Texture surface characteristic of form
5. Position forms location relative to its environment/visual field.
6. Orientation forms position relative to the ground plane, the compass points, or
to the person viewing the form.
7. Visual inertia degree of concentration & stability of a form.
Affected by the conditions under which we view
a. our perspective/angle of view
b. our distance from the form
c. lighting condition
d. visual field surrounding the form
SHAPE planes primary identifying characteristic
Concerned shapes (architecture)
1. planes (floor, walls, ceiling) that enclosed space
2. openings (windows, doors) within a spatial enclosure
3. the silhouettes of building forms
Primary Shapes
1. Circle centralized, introverted figure that is normally stable and self-centering in
its environment; natural centrality
2. Triangle signifies stability
3. Square represents the pure & the national
Platonic Solids primary shapes extended/rotated to generate volumes whose forms
are distinct, regular & easily recognizable.
1. Sphere - centralized & highly concentrated form
2. Cylinder centralized about the axis defined by center of 2 circular faces.
3. Cone generated by rotating an equilateral triangle about its vertical axis.
4. Pyramid similar properties of the cone.
5. Cube prismatic form that has 6 faces of equal size, 12 edges of equal length.
Regular Forms parts are related to one another in a consistent and orderly manner.
Irregular Forms parts are dissimilar in nature & related to one another in an inconsistent
manner.
THE TRANSFORMATION OF FORM
1. Dimensional Transformation altering one or more of its dimension and still retains
its family identity.
2. Subtractive Transformation subtracting a portion of its volume.
3. Additive Transformation addition of elements to its volume.
Four (4) Basic possibilities for two forms to group together
a. By Spatial Tension two forms be relatively close to each other/ share
common visual trait.
b. By Edge to Edge Contact two forms share common edge & can pivot
about the edge.
c. By Face to Face Contact to form to have flat, planar surfaces that are
parallel to each other.
d. By Interlocking Volumes two forms interpenetrate each other spaces.
No need to share any visual traits.
Five (5) Diagrams
1. CENTRALIZED FORMS consists of number of secondary forms clustered about
dominant, central, and parent forms; embody sacred or honorific places, or
commemorate significant persons/events.
2. LINEAR FORMS consists of forms arrange sequentially in row.
- Can be segmented or curvilinear to respond to its topography.
- Can be used to front/define an edge of an exterior place.

Can be manipulated to enclosed space.

Can be oriented vertically as a tower element
Can act as an organizing element to which a variety of forms can be
attached.
3. RADIAL FORMS compositions of linear forms that extend outward from central
forms in a radial manner; the core is either symbolic/functional center of
organization.
4. CLUSTERED FORMS consists of forms that are grouped together by proximity/the
sharing of a common visual trait.
Ways on how forms can be organized
a. They can be attached as appendages to a larger parent form/space.
b. They can be related by proximity alone to articulate & express their
volumes as individual entities.
c. They can interlock their volumes to merge into a single form that has a
variety of faces.
5. GRID FORMS modular forms whose relationships are regulated by three
dimensional.
ARTICULATION OF FORM
Articulation refers to the manner in which the surfaces of a form come together to
define sits shape & volume.
Four (4) ways a form & its surface plane can be articulated:
1. Differentiating adjacent surfaces with a change in material, color,
texture/pattern.
2. Developing the corner as a distinct linear element independent of the surface.
3. Removing the corner to physical separated adjacent planes.
4. Lighting the form to create a sharp distinctions of light & dark at its corners.
Corners meeting of two planes
Four (4) ways a corner can be VISUALLY reinforced
1. By introducing a separate & distinct element that is independent of the surfaces
it joins.
2. If an opening is introduced at the corner, one of the planes will appear to bypass
the other.
3. If neither the plane is extended to define the corner, volume of space is created
to replace the corner.
4. Rounding off the corner emphasizes the continuity of a forms surfaces, the
compactness of its volumes, & softness of its contour.
SURFACE
- Architectural surface are areas of material which enclose a building & area of
secondary importance to the masses which they create.
1. TEXTURE quality of surface treatment.
2. TONE variety in the use of the gradations from black to white.
3. COLOR warmer climates usually produced the most colorful architecture. It
requires intelligent handling & a thorough knowledge of harmonies & values.
PSYCHOLOGICAL EFFECTS OF COLOR
1. RED rage/passion
a. Medium red health & vitality
b. Bright red amorous connotations
2. YELLOW gayety; stimulating cheering to the lazy, upsetting to nervous.
3. ORANGE stimulating effect & should use in a relatively small amount
4. BROWN restful & warming; should be combined with orange, yellow/gold
because it could be depressing if alone.
5. GRAY cold & depressing unless combined with atleast one livelier color.
6. WHITE cheerful; particularly when used with warm colors
7. PURPLE sedative & soothing.
8. BLUE peaceful & tranquil; helps one to concentrate.
9. GREEN cooling quality & activates sedative.

Color Usage
1. RESIDENTIAL must be tolerated by the whole family. Different tastes can be
applied to their own rooms.
2. COMMERCIAL lobby walls should be stimulating & exciting; corridor should be
neutral; individual offices may vary in color, texture & materials but must have a
basic similarity.
3. INDUSTRIAL proper kind of light to avoid shadows & glare; walls color should be
darker than the machine or work benches. If intense heat is produced, walls
should be cool color. Vice versa.
Safety Color Guides
a. RED STOP
b. ORANGE DANGER
c. YELLOW CAUTION/RISK
d. GREEN SAFETY
e. BLUE MANDATORY ACTION
f. PURPLE RADIATION HAZARD
g. BLACK, WHITE or COMBINATION OF BOTH TRAFFIC & HOUSEKEEPING
MARKINGS
4. INSTITUTIONAL the aim should be to provide an atmosphere that is friendly &
inviting; basic scheme to unify the whole, but the individual areas should each
reflect their own personality.
5. EDUCATIONAL strong colors for young children; more sophisticated taste for the
older students.
Color as an expression element of Design
1. The uniform color of a room.
2. The effect of the visible size in color
3. Colors on a non-uniform background.
4. The effects of color on form.
CONTRAST Variety
1. Contrast of Form in order for a shape to be interesting; shape/mass; contrasting
bulks.
2. Contrast of Line vary with reference to direction; horizontal line opposing
vertical/diagonal lines may form a composition; it may be curve/straight,
regular/irregular, broken/continuous.
3. Contrast of Size same shape & direction but may vary in size. If the change in
size is gradual & uniform, the result is called gradation.
4. Contrast of Tone tone may be secured by contrast of texture, openings, or
planes.
COMBINATIONS architectural composition which illustrates in a combined way some
of various types of contrast.
1. Contrast of Mass not only with the reference to whether it is
cylindrical/rectangular, but also with the reference to the direction of the
mass/volume.
2. Contrast of Shape
3. Contrast of Tone
Contrast opposite of Similarity
- Monotony similarity exists to a marked degree.
- Monotonous if faade of the building may consist of simple, unadorned wall
pierced with uninteresting windows.
Contrast in Architectural Subject
1. Contrast of Mass
2. Contrast of Direction
3. Contrast of Character
4. Contrast of Treatment
a. Same material used in different treatment
b. Contrast of pattern of different material
c. Contrast of area

UNITY and HIERARCHY harmony

Repetition simplest kind of unity dealing with motifs of more than one member is to be
found; to give emphasis and interest, an Accent is introduced.
At least 7 Ways of producing an effect on UNITY in a design
1. There must be a central motif, a theme, or a center of interest.
2. The major masses of the building should dominate the less important ones.
3. All the units should together form a compact and coherent ensemble.
4. The element of emphasis must be introduced.
5. By limiting the amount of treatment seen at one time.
6. By selecting details, materials, colors, etc. in harmony with the basic idea.
7. By selecting styles, furniture & furnishing in harmony with the surroundings.
COMPETITION - causes duality or the presence of two strong conflicting personalities
or masses resulting in discord & redundancy.
CONFUSION another kind of competition where dissimilarity is too pronounced.
HIERARCHY principle which implies that in most architectural compositions, real
difference exist among their forms & spaces.
For form/space to be articulated as being important/significant to an
organization, it must be made visibly unique.
1. Exceptional SIZE form/space may dominate an architectural composition by
significantly different in size than all other elements in the composition.
2. Unique SHAPE forms & spaces can be made visually dominant, & thus,
important by clearly differentiating their shape from that the other elements in
the composition.
3. Strategic Location forms & spaces may be:
a. Strategically located to call attention to them as being the important
element.
b. The termination of a linear sequence/axial organization.
c. The centerpiece of a symmetrical organization.
d. The focus of a centralized/radial organization.
e. Offset, above, below or in the foreground of composition.
CHARACTER expressiveness
3 Types of Character
1. Functional Character (use of the building) most important kind of character in
architecture; purpose of the building/the reason of erection.
a. Museum must have galleries with ample wall space & top light, which
eliminates windows & necessities the use of skylight.
b. School building must contain many windows to admit the necessary side
light & to offer an interesting contrast with the possible monotony of the
classroom walls.
c. Shop large show windows for display and sale of merchandise.
d. Factory readily seen from the exterior to express the efficient of the
operation of the manufacturing within.
e. Monument serves to perpetuate a memory of a person/an important
event.
f. Bank should have dignity designed to house an activity which is very
near to the heart & mind of the average citizen
g. Movie - Cinema House place of relaxation/recreation.
h. House should reflect the informal intimacy of home life.
2. Associated Character (influence of traditional types) from the influence of
ideas related to or growing out of past experiences.
3. Personal Character (the human quality/emotional appeal) bears a certain
relation to the same attribute in the life of an individual.
a. Custom House sense of strength & solidity.
b. Large House display evidence of his wealth.
c. Simple Designed House quiet & unassuming people.

Personality of character in a building can be attained by the ingenious

application of masses, lines and color treatment.
1. Heavy masses sedate (compose, dignified)
2. Straight lines sturdiness (masculine effect)
3. Horizontal lines repose (rest, peace) stability, comfort, & widening
effect.
4. Vertical lines strength (power, vitality, dignity, inspirational emphasize
height & monumentality dynamic)
5. Diagonal lines action(movement, vigor, & speed)
6. Irregular lines informality (excitement)
7. Curved lines grace (refinement, feminine, emotional, continuity,
flexibility)
8. Bright colors (red, yellow, orange, etc.) conspicuous, cheerful,
stimulating, attractive, advancing effect)
9. Cool colors blue, green, violet, etc. (inconspicuous, restful receding
effect, suggests distance.
Character may be expressed in Architecture by the following:
1. Scale when increased, it gives a feeling of grandeur, dignity &
monumentality. Vice versa when scale is reduced.
2. Proportion regarded to produce formality in character when
applied.
3. Style character expressive of definite conceptions.
Ambiance surrounding on all sides, an environment or its distinct atmosphere; or
milieu.
Milieu environment, social/cultural setting.
PLAN COMPOSITION SCHEME
A PARTI / SCHEME logical plan must have some reason behind it.
- A plan may be simple/complex depending upon the use to which the building is
to be put & upon the number of units/rooms required.
AXIAL ARRANGEMENTS with the exception of the most elementary forms, plans have
direction.
PRINCIPLES a plan, to be worthy of the name, must be organic.
EMPHASIS to direct a structure which will house a single important object.
SECONDARY PRINCIPLES
a. Repetition number of rooms of equal size & shape occur side by side.
b. Alternation synonym on contrast; altering sizes of rectangular
elements/alteration of shapes.
c. Transition satisfactory progression from one unit to another.
- in a complex plan, it is offer desirable not to tell the whole story at once
but to allow the beauty and interest of the interior gradually to unfold
itself.
d. Transformation select a prototypical architectural model whose formal
structure & ordering of elements might be appropriate & reasonable, & to
transform it through a series of discrete manipulations to respond to the
specific conditions & context of the design task at hand.
VISUAL ACQUITY & PERCEPTION
PERCEPTION the process by which organize & interpret the patterns of stimuli in our
environment; the immediate intuitive recognition, as of an aesthetic quality.
SPATIAL PERCEPTION mentally conditioned by the environment and experience of the
viewer.
VISION experienced by the eyes but interpret by the mind.
2 Different Type of Vision:
1. STEREOSCOPIC ability to overlap these views which are slightly different into one
image.
Retinal Disparity unlikeliness of the retinal images in the eyes

2. KINESTETIC experience s space in the movements of the eye from one part of a
whole work of art to another.
THE PERCEPTION OF SHAPE
1. FIGUREGROUND drawings consisting of black lines, any line which is recognized
as representing an object is quickly picked out by the observant.
2. FLUCTUATION alternating figure and ground alternating perspective & retinal
rivalry.
PSYCHOLOGICAL FACTORS AFFECTING ACCURACY OF SHAPE PERCEPTION
GESTALT psychologist the tendency to perceive shapes not exactly as they are but in
somewhat modified form.
VISUAL ACUITY The accuracy and the amount of detail with which shapes can be
perceived depends on the length of time available for viewing them.
VISUAL ILLUSIONS make their effect because the observers perception is influenced
by the inclusion of their parts in the whole pattern.
PERCEPTION OF SPACE DEPTH & DISTANCE
1. FILED & EMPTY DISTANCE a depth filled with details appear to be greater than
one of the same physical distance which is empty.
2. CONTRADICTORY DEPTH FACTORS The bigger square is nearer. But due to height
location, the bigger square can be farther.
3. VISUAL DEPTH Despite the fact that the observer sees and knows in reality &
feels with his feet that the floor is composed of plane mosaic stones, it is
impossible to avoid a perception of depth.
4. ILLUSION OF DEPTH The transformation of what is real into what is believed to be
real.
Trompe L Oeil In France, walls/ceilings were painted with scenery & backdrops
in perspective which one would consider as real, adding dimensions to small
areas & widening the visual coverage to even outdoor spaces.
MONOCULAR CUES TO DEPTH
Four (4) types of cues that are used in depth perception:
1. SUPERPOSITION If one object appears to cut off the view of another, we usually
perceive the first object is nearer.
2. APPARENT MAGNITUDE & RELATIVE SIZE if there is one array of like objects of
different sizes, the smaller ones are perceived as being farther away.
3. HEIGHT IN PLACE on a flat plane objects farther away appear to be higher, so
that we can create the impression of depth for object of the same size by
placing them at different height.
4. TEXTURE for irregular surfaces, there is a gradient of texture with distance so that
the grain becomes finer as distance becomes greater.
ARCHITECTURAL CONCEPTS
Some general categories under which the concerns & issues of a building may be listed
& addressed in design are:
1. Functional zoning
2. Architectural space
3. Circulation & building form
4. Response to context
5. Building Envelope
CONTEXT FOR CONCEPT GETTING
1. General philosophy & life values of the Designer, some psychological categories
that combine to influence the formation of a design philosophy & which affect
the making of the design decisions are:
a. Motivation & interest
b. Enhancement of self-image
c. Dependence on or independence of outside reinforcement of self-worth

d. Expansion of ones sphere of influence

e. Concern for fellow man
f. Immediate & deferred goals
g. Conservation of what is scarce & valued
h. Quest for simplification
i. The material & the spiritual
j. The material & the spiritual]
2. Design philosophy of the designer.
Listed are some issues about which the designer may hold values:
Artistic
Scientific
Conscious
Subconscious
Rational
Illogical
Sequential
Nonsequential
Evaluate as you go
Evaluate when youre done
Known
Unknowns
Individual
Society
Personal
Universal
Verbal
Visual
Needs
Wants
Ordered
Random
Structured
Unstructured
Beginning point important
Point unimportant
Objective
Subjective
One answer
Multiple solutions
Creative
Common place
Your needs
Client needs
Specific
General
Man
Nature
Critical issues
Minor issues
Complexity
Simplicity
Parts
Whole
Patterned process
Random process
Preconceptions
Response to facts
Indeterminate
Mechanistic
Design for now
Design for future
Busy
Empty space
Dynamic
Serene
Filled with distractions
Organized & peaceful
Matte
Shiny
Sophisticated
Rustic
Natural
Man-made
Worthless
Precious
3. View of the problem by the designer presented with a specific design project.
Several judgments that the designer makes about the project that, together,
constitute his view of it.
a. Whether the project calls for an architectural solutions (whether it is in his
province to satisfy the needs). The client may need a new managerial
system rather than a new building.
b. What the limits of the project are: what are the projects edges in terms of
the designers responsibility? (The designer may not be involved in site
design)
c. What the categories of concern are within the project that the designer
will use as checklist include:
i. FUNCTION
: Activity Grouping & Zoning
ii. SPACE
: Volume Required by Activities
iii. GEOMETRY : Circulation, Form & Image
iv. CONTEXT
: Site & Climate

v. ENCLOSURE : Structure, Enclosing Planes & Openings

vi. SYSTEMS
: Mechanical, electrical, etc.
vii. ECONOMIC : First costs, maintenance costs
viii. HUMAN FACTORS: perception, behavior
d. Where the designer should concentrate his design efforts on his
perceptions of the problems essence & its unique characteristics.
e. What the physical elements to be manipulated are within each of the
issue categories..
CREATIVITY
3 ESSENTIALS TO DEVELOP CREATIVITY SKILLS
1. IDEATION mental process itself. To ideate means to think & that is of course,
how to train ones self; think in new & unique ways.
2. IDEA QUANTITY the person who is capable of producing the largest number of
ideas per unit of time has the greatest chance of producing truly significant one.
3. IMAGINEERING letting your imagination soar & then engineering it back to
reality.
STAGES IN DESIGNING
I.
DESIGN ANALYSIS
II.
TENTATIVE SOLUTIONS
III.
CRITICISM
Psychological Blocks ideas that society has ingrained in us,
consciously/unconsciously.
IV.
OPERATIONAL PROCESS
V.
GEOMETRIC
METHODOLOGY the systematic method of problem solving, builds upon the concept
by helping to make the best use of the design tools acquired in creativity.
DESIGN PARADIGM a pattern, example or model
DESIGN TOOLS
1. PRESTATEMENT this is a statement of the problem that the designer will have to
resolve.
2. PROBLEM STATEMENT proceed to step 3 & gather information & then you can
state the true problem.
3. INFORMATION uncover all of the details that relate to your problem.
Record all of the information you will eventually use from:
a. Literature: record, document, & preserve all information that you discover
from written materials books, magazines, etc.
b. Experienced Persons: ask verbally/unite anyone who can provide
information to help your cause.
c. Observation: Own personal observation of the present situation is essential
in personalizing & validating your data.
4. ANALYSIS Think Stage. Do not conceptualize the total solution here.
5. SYNTHESIS the conceptualization of your projects solution in graphic manner.
6. EVALUATION may take in different times. May do after the project has been
finished & has been used in a while.
FUNCTIONAL GROUPING & ZONING
THE PRINCIPLES RELATED TO FUNCTION
1. Under this category, we stud the need for adjacency.
2. Similarity in general rule.
3. Relatedness to departments : Goals & Systems
4. Sequence in Time
5. Required Environments
a. Furniture types
b. Need for view
c. Need for ceiling height/shape
d. Access to ground/roof
e. Relative security
f. Need for visual & sound privacy

g. Need for acoustic control

h. Need for noise control
i. Relative maintenance
j. Relative involvement
k. Relative visual access
6. Types of Effects Produced
a. Radiation produced
b. Chemicals
c. Smoke & Fumes
d. Relative heat produced (Kiln, welding, kitchen)
e. Observation intensity
f. Potential for contamination
g. Asset to public image
h. Revenue produced
i. Relative weight
j. Noise produced by gymnasiums, music, mechanical rooms
k. Vibration machinery
l. Wet dry wet laboratories, toilets, kitchen
Dry offices
m. Trash production (food prep, dishwashing)
n. Relative visual clutter
o. Odor production
7. Relative proximity to building
8. Relatedness to Core Activities
LOGICAL BEAUTY The building may remain only an engineering structure without the
spirit of architecture.
ELEMENTS OF COMFORT light, heat & ventilation