Study Guide in BACHELOR OF SCIENCE IN ARCHITECTURE FM-AA-CIA-15 Rev.

0 03-June-2020

TOA 111 THEORY OF ARCHITECTURE 1 Module 1 Mid-Term Coverage

Module No. 01
MODULE TITLE
THEORY OF ARCHITECTURE 1 (Mid-Term Coverage)

MODULE OVERVIEW

This subject provides an outline of the theory of architecture and design, from the basis to the
products. Students analyze buildings and the built environment as the products of concepts and in
relation to the special problems of architectural design, with perceptions on the needs of built
environment. The course develops critical tools for the analysis and appreciation of architecture, for
its role in the intellectual environment in which we conduct our lives.

It was doubtless the difference in educational methods that prompted Le Corbusier to state:

“The engineer, inspired by the law of economy and led by mathematical calculation, puts us
in accord with the laws of the universe. He achieves harmony…
The architect, by his arrangement of forms, achieves an order which is a pure creation of
his spirit…it is then that we experience beauty.”

LEARNING OBJECTIVES

At the end of studies, the student can able to:

• Be able to acquire sufficient knowledge of the principles of design by relating architecture to
other art forms.
• Be acquired with the broader issues of architectural design process.
• Be able to asses proxemic requirements of space

LEARNING CONTENTS

Outline of the Module:

1. Introduction to the Course

1.1. Theory of Architecture
1.2. Architecture

2. Anthropometric Basis of Architectural Design

2.1. Static Anthropometry
2.2. Functional Anthropometry

3. Dimensions: Scale and Proportion

3.1. Scale
3.1.1. Visual Scale
3.1.2. Hierarchical Scale
3.1.3. Distorted Scale
3.2. Proportion
3.2.1. Modulor
3.2.2. Golden Section & Ratio

4. Shape, Form and Unity

4.1. Shape

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4.1.1. Primary Shape

4.1.2. Volumetric Shape
4.2. Form
4.3. Unity
4.3.1. Elements of Unity
4.3.1.1. Texture
4.3.1.2. Color
4.3.1.3. Tone
4.3.1.4. Direction
4.3.1.5. Proportion
4.3.1.6. Solid and Void
4.3.1.7. Form and Shape

5. Balance and Gravitational Curve

5.1. Balance and Axis
5.2. Types of Balance
5.2.1. Symmetrical Balance
5.2.1.1. Centralized
5.2.1.2. Formal
5.2.1.3. Radial
5.2.2. Unsymmetrical Balance
5.2.3. Gravitational Curve

6. Visual Acuity and Perception

6.1. Definition of Visual, Acuity & Perception
6.2. Two Types of Vision
6.2.1. Stereoscopic
6.2.2. Kinesthetic
6.3. Perception

7. User requirement and perception of space

7.1. The Visual Nature of Space
7.2. Primacy of Space
7.3. Increasing Complexity

LEARNING POINTS

#1 Theory Of Architecture

The term theory of architecture was originally simply the accepted translation of the Latin
term ratiocination as used by Vitruvius, a Roman architect-engineer of the 1st century,
to differentiate intellectual from practical knowledge in architectural education, but it has come to
signify the total basis for judging the merits of buildings or building projects. Such reasoned
judgments are an essential part of the architectural creative process. A building can be designed
only by a continuous creative, intellectual dialectic between imagination and reason in the mind of
each creator.

A variety of interpretations has been given to the term architectural theory by those who have
written or spoken on the topic in the past. Before 1750 every comprehensive treaty published
lecture course on architecture could appropriately be described as a textbook on architectural
theory. But, after the changes associated with the Industrial Revolution, the amount of
architectural knowledge that could be acquired only by academic study increased to the point
where a complete synthesis became virtually impossible in a single volume.

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The historical evolution of architectural theory is assessable mainly from manuscripts and
published treatises, from critical essays and commentaries, and from the surviving buildings of
every epoch. It is thus in no way a type of historical study that can reflect accurately the spirit of
each age and in this respect is similar to the history of philosophy itself. Some architectural
treatises were intended to publicize novel concepts rather than to state widely accepted ideals.
The most idiosyncratic theories could (and often did) exert wide and
sometimes beneficial influence, but the value of these influences is not necessarily related to the
extent of this acceptance.

The analysis of surviving buildings provides guidance that requires great caution, since, apart
from the impossibility of determining whether or not any particular group of buildings (intact or in
ruins) constitutes a reliable sample of the era, any such analyses will usually depend on
preliminary evaluations of merit and will be useless unless the extent to which the function, the
structure, and the detailing envisaged by the original builders can be correctly re-established.
Many erudite studies of antique theories are misleading because they rest on the assumption that
the original character and appearance of fragmentary ancient Greek and Hellenistic
architectural environments can be adequately deduced from verbal or graphic “reconstructions.”
Even when buildings constructed before 1500 remain intact, the many textbooks dealing with
antique and medieval theories of architecture seldom make qualitative distinctions and generally
imply that all surviving antique and medieval buildings were good, if not absolutely perfect.
Nevertheless, the study of the history of architectural philosophy, like that of the history of general
philosophy, not only teaches what past generations thought but can help individuals decide how
they themselves should act and judge. For those desirous of establishing a viable theory of
architecture for their own era, it is generally agreed that great stimulus can be found in studying
historical evidence and in speculating on the ideals and achievements of those who created this
evidence.

Introducing the various functional aspects of architecture:

site structure
skin or envelope services
use circulation, etc.

#2 ANTHROPOMETRICS in ARCHITECTURAL DESIGN

Designing Buildings Wiki,
https://www.designingbuildings.co.uk/wiki/Anthropometrics_in_architectural_design#:~:text=Anth
ropometrics%20is%20the%20comparative%20study,capabilities%20of%20the%20human%20body
.&text=The%20underlying%20principle%20of%20anthropometrics,adapt%20to%20suit%20the%2
0buildings.

Anthropometrics is the comparative study of the measurements and capabilities of the

human body. It derives from the Greek words 'anthropos' (meaning human), and 'metron'
(meaning measure).

Anthropometry influences a wide range of industries,

processes, services and products and has a considerable importance in optimizing
the design of buildings. Human dimensions and capabilities are paramount in

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determining a building's dimensions and overall design. The underlying principle

of anthropometrics is that building designs should adapt to suit the human body, rather
than people having to adapt to suit the buildings.

There are two basic areas of anthropometry:

▪ Static anthropometry is the measurement of body sizes at rest and when using
devices such as chairs, tables, beds, mobility devices, and so on.
▪ Functional anthropometry is the measurement of abilities related to the completion of
tasks, such as reaching, maneuvering and motion, and other aspects
of space and equipment use.

The use of anthropometrics in building design aims to ensure that every person is as
comfortable as possible. In practical terms, this means that the dimensions must be
appropriate, ceilings high enough, doorways and hallways wide enough, and so on. In
recent times, it has come to have particular significance for workplace design, and the
relationship between desk, chair, keyboard and computer display.

The building regulations provide a range of standard requirements

and approved solutions for designers to help develop suitable designs. However, it is
important to consider the specific purpose and requirements of end users. Attempts to
apply standardized dimensions may not reflect the true need of the space requirements.

Older people, children, people with mobility issues, wheelchair users and so on may have
specific requirements. In particular, good accessibility and easy maneuverability around
the building must be considered when designing stairs, lifts, ramps and other features.
See Accessibility in the built environment for more information.

Anthropometry may also impact on space requirements for furniture and fittings. For
example, a bathroom must have enough space to comfortably fit a bath and sink;
a bedroom must have enough space to comfortably fit an average-sized bed; an office
building must have enough space to fit desks, air-conditioning units, communal areas,
meeting rooms, and so on.

Anthropometric data is regularly updated to reflect changes in the population.

See also: Ergonomics.

Related articles on Designing Buildings Wiki

▪ Accessibility in the built environment.

▪ Building spaces definition.
▪ Changing lifestyles.
▪ Concept architectural design checklist.
▪ Design intent.

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▪ Design management for construction projects.

▪ Design responsibility matrix.
▪ Ergonomics in construction.
▪ Facilities management.
▪ Headroom.
▪ Inclusive design.
▪ Lifts.
▪ People with disabilities.
▪ Ramps.
▪ Scale.
▪ Skeuomorphism.

#3 SCALE and PROPORTION

Scale and Proportion to Architecture, gledisadani December 8, 2017
https://gledisadani.wordpress.com/2017/12/08/scale-and-proportion-introduction-to-
architecture/

This chapter begins with the legend about Pythagoras discover. The famous Greek
mathematician so that when the lengths were related to each other in the ratios of small number
the strings produced harmonious sounds. Natural method of proportioning in architecture cannot
be experienced in the same way as the harmonic proportion of music.
Scale and proportion play a very important role in architecture.

● SCALE
It refers to how we perceive or judge the size of something compared to a reference standard or
the size of something else. We often compare an object’s size to the size of our own bodies.
Therefore, we are always comparing one thing to another. Scale also refers to the mathematical
relationship between an object and a measurable quantity.

A size comparison illustration comparing the size of an average human to the size of certain
prehistoric sharks. The illustration also contains a linear measurement in meters at the top.

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In an architectural drawing we use a scale to specify the ratio that determines the relationship
between the drawing and the actual building.

There are 3 types of scale:

1) Visual Scale- it refers not to the actual dimension of things but rather to how small or
large something appears to be in relation to its normal
size.

2)Hierarchical Scale- refers to the deliberate use of relative size in a work of art, in order to
communicate differences in importance. Larger -> more important, smaller ->less
important

3) Distorted Scale- an artist may deliberately distort scale to create an abnormal or

supernatural effect.

● PROPORTION
Is a central principle of architectural theory and an important connection between mathematics
and art. It is the visual effect of the relationships of the various objects and spaces that make up a
structure to one another and to the whole. These relationships are often governed by multiples of
a standard unit of length known as a “module”. Proportion in architecture was discussed by
Vitruvius, Andrea Palladio and Le Corbusier among others.

There is one proportion which has attracted great attention ever since the days of antiquity. This is
so called Golden Section. Le Corbusier has based his principle of proportion “Le Modulor” on it. A
line segment is said to be divided according to the golden section when it is composed of two
unequal parts of which the first is to the second as the second is to the whole. The ratio of a to b is
equal to the ratio of b to a+b.

In terms of golden section Rasmussen also refers to buildings of Andrea Palladio, especially his
Villa Foscari.

Opinion: The comparison of Palladio’s villa and Le Corbusier’s houses is essential not only
because we can find similarity in their architecture, but also because through these two examples
we can see the usage of golden section through years.

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Villa Foscari

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Villa Foscari

Villa Garches

Villa Garches

In both houses, the basic grid rhythmically alternates across the plan as a sequence od single and
double bays. In fact, the basis difference between the two works areas from Le Corbusier’s use of
cantilever. With the ratio of the grid, both architects intend specific manner. Palladio secures a
dominance for his central division with a progression towards his portico which absolutely
attention in these two areas where as Le Corbusier obtains a compression of the outer grid units
in order to transfer interest somewhere else.

MODULOR
Finally codified in 1945 after several years of research, Le Corbusier’s Modulor is probably the
most comprehensive proportional system imagined during the 20th century. The basic grid
consists of three measures: 113, 70 and 43 cm, proportioned according to the golden section.

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113, 183 and 226 define the space occupied by the human figure. From 113 and 226, Le
Corbusier developed the red and blue series, the scale and dimensions that were related to the
size of the human figure.

Golden Section and Regulating Lines

Lines that are identified by Corbusier are used to completing the creation of architecture. At
primitive times, the lines were used for different purposes such as determining space to live in or
roads to find directions. In order to determine or create those things in regular way the regulating
lines were formed by measurement produced by using human scales and right angles that human
eyes can recognize easily. To measure other objects that have various distances, units created
with rhythm are used.

Using the regulating lines in design helps combine artistic and mathematical thoughts to create
satisfaction because the lines cannot be used without measurement and calculations.

The regulating lines shows the reasons behind the beauty of construction and where some parts
in construct comes from, how they were created, while the regulating lines are regulating the
construction.

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#4 SHAPE, FORM AND UNITY

https://vanseodesign.com/web-design/design-unity/

SHAPE: (2D) The two-dimensional contour that characterizes an object or area.

• Shape refers to the configuration of surfaces and edges of a two- or three-

dimensional object. We perceive shape by contour or silhouette, rather than by
detail. See Fig. 1.

• Primary shapes, the circle, triangle, and square, are used to generate volumes
known as "platonic solids." A circle generates the sphere and cylinder, the triangle
produces the cone and pyramid, and the square forms the cube. Combinations of
these platonic solids establish the basis for most architectural shapes and forms.
See Figs. 2 and 3. Recent advances in digital technology have promoted the
design and representation of more complex, non-platonic forms.

• Volumetric shapes contain both solids and voids, or exteriors and interiors. Some
shapes are formed through an additive process, while other shapes are
conceptually subtracted from other solids. See Fig. 4.

• Shape preferences may be culturally based or rooted in personal memory, or

convention. For example, a dome or steeple may connote religious architecture in
some cultures, while an American child's drawing of a house often depicts a square
shape with pitched roof—a shape that many houses do not possess in our culture.

From left to right: Fig. 1. Distinctive shape, Fig. 2. Cubic shape, Fig. 3. Cylindrical and pyramidal shapes, Fig. 4. Circle
subtracted from cubic volume
Photo Credit: Michael Petrus

FORM (Mass/Size): (3D) The shape and structure of something as distinguished from its
substance or material.
Mass combines with shape to define form. Mass refers to the size or physical bulk of a
building, and can be understood as the actual size, or size relative to context. This is
where scale comes into play in our perception of mass. See Fig. 5.

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From left to right: Fig. 5. Buildings of different sizes, Fig. 6. Gigantic scale, Fig. 7. Multiple
scales

Form refers to the shape or configuration of a building. Form and its opposite, space,
constitute primary elements of architecture. The reciprocal relationship is essential, given
the intention of architecture to provide internal sheltered space for human occupation. Both
form and space are given shape and scale in the design process. In addition, the placement
of a building form in relation to its immediate site and neighboring buildings is another
crucial aspect of this form/space relationship. Just as internal space is created by voids in
building form, exterior space can be defined or poorly defined by the building form as well.
Form and shape can be clearly observed in the overall arrangement of a building or in parts
of a building (windows, doors etc.) which have geometric shapes. Repetition or variation of
a particular form can provide strong elements of composition.

Parts of a building, for example, windows depicting form represent geometric shapes such
as a square or a rectangle. Repetition of a window unit form a good element of composition.

Shape helps to identify different forms, for example, the pitch of a roof will provide a certain
form which is easy to identify and also easy to relate to other roofs which have a similar
pitch. When a roof is of a distinctly different shape, it will look strongly dissimilar.

UNITY (Harmony): (3D) The shape and structure of something as distinguished from its
substance or material.
• The state or quality of being one; singleness.
• The state or quality of being in accord; harmony.

The principle of Unity deals with visual composition in design. Composition means the
relationship between the visual elements - Harmony. The brick work, timber and concrete
use as building materials for protection from weather or for structural support from the
visual composition of architectural composition. To get a good composition, the elements
of unity should be chosen carefully. Unity therefore deals with the arrangement of
building materials and building parts (floor, wall, roof, column, beam, etc.) to create a
good composition.

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Unity is a measure of how well the elements on the page belong together. Through unity a
viewer should first see the whole and then the sum of the parts making that whole.

Creating unity is similar to branding. You first establish what the design will be about,
what the brand will stand for, and with that in mind create elements or make public
statements that reinforce the design or brand. Think consistency around a central
message.

http://www.architecture-student.com/architecture/aesthetic-components-design-unity-elements/
Consider materials such as stone, glass and steel. They are available in a variety of
colors, tones, textures, shapes, proportions, etc. Various compositions of these material
properties are possible-the challenge lies in arising at the most pleasing composition. The
texture or color of a single brick or wood panel will differ in effect when it forms a part of
the larger composition such as brick wall or a door frame set in a wall.

7 key Elements of Unity

1. Texture
2. Color
3. Tone
4. Direction
5. Proportion
6. Solid and Void
7. Form and Shape

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Texture
The word texture generally refers to the
appearance and feel of a surface.
However, it could also mean the physical
composition or structure of something,
especially with respect to its size, shape
and arrangement of its parts.

In this figure, a variety of textures can be

seen in the roofs, walls and paving.
Strongly identifiable shapes in roofs and
battered walls are seen as repeated units,
presenting a definite and distinguishable
feel of the surface.

Individual dwellings within a group, as well as decorations and carvings in buildings can create an
effect of texture.

Color
Here color refers to hue (color range). Color is one of the pronounced elements of aesthetics and
its selection is very crucial to the overall effect it has on aesthetics. A variety of effects can be
produced by varying luminance, fullness and its transparency.

Tone
Tone is related to the color theory and varies from the neutral scale of white to black through a
range of greys. This plays an important role in drawings used to represent buildings.

Direction
Every building has elements which suggest direction. In most buildings, these are strong elements
that suggest vertical and horizontal direction. The total shape of the building, or parts of the building
or its structural components (beam, column, wall, ceiling, etc.) its windows and other openings all
suggest the direction.

Example: City Theatre, Helsinki, Finland

The building shows a strong

dominance of horizontality given by
the roof line and overhang in contrast
from the columns. The directional
emphasis is reinforced by the use of
a strongly ribbed cladding tile, which
can be seen running horizontally on
the eaves soffit and the beams
linking the column heads and the
solid parts of the wall behind them.

Here a dominantly vertical composition is shown where the verticality is reinforced by the
faceting of the envelope. Contrast is given by the generally horizontal emphasis of the
fenestration. The curving round of the plan affords more window space for the living
accommodation of the southerly side relative to the service and circulation space on the
north i.e., stairs, lifts, passage access to flats.

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Proportion
In this context, proportion is the geometric relationship of the sides of volumes (e.g.,
rectangles). It is also the ratio and comparative size of individual parts of the composition.

Ducal Palace, Urbino, Paris illustrates the

concept of unity through proportions.

We cannot measure these

relationships accurately by eye, but
we can compare them and try to
judge the relationship of one to
another on proportional basis.
Buildings belonging to Classical and
Gothic Architecture have better
proportional relationships than most
buildings today.

Solid and Void

The relationship between solid (walls, roofs, etc.) and void (windows and other openings)
structural units is very important to form a good composition.
Cemetery Chapel, Turku, Finland shows the relationship
between solid and void structural units. In this structure, the
dominance of solid material contributes to the sense of
enduring unity.

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#5 BALANCE and GRAVITATIONAL CURVE

https://prezi.com/k2p3uxfxksyu/balance-and-gravitational-curve/
BALANCE
• EQUALITY
• COMPOSITION
• It is the foundation upon which arrangement, harmony and adjustment of weights, tones,
values etc. are developed.
• Satisfies the eye with reference to the relative importance of the various parts of design.

AXIS
• Demands balance
• Means of organizing forms
• and spaces in Architecture.
• Imaginary and not visible
• Qualities of length, width and induces movement along its path.

TYPES OF BALANCE
SYMMETRICAL BALANCE

A. Centralized
Central axis- the easiest and
simplest kind of Balance in which
the elements are arranged in
precisely the same manner on
either side of a central axis or line.

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B. Formal Type Symmetry – approaches absolute symmetry. General mass and grouping
may appear similar, but there are dissimilarities in plan, elevations or details.

C. Radial Type Symmetry –

characterized where all parts
radiate from a center.

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UNSYMMETRICAL BALANCE

• Subtle and elusive.

• Difficult to attain
• Informal grouping of shapes in attempt to satisfy the eye’s instinctive need to observe
balance without making effort to place equal masses at similar distances.

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GRAVITATIONAL CURVE

• Complete
adaptation to
surroundings

• Emphasizes
picturesqueness
instead of symmetry

• Results freely rely

on natural
surroundings
instead of man-
made structures.

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#6 VISUAL ACUITY & PERCEPTION

by Valera, Sabusap & Valdevieso
https://prezi.com/zhkmyovcfv1s/visual-acuity-perception/

What is Visual?
Relating to seeing or to the eyes

What is Acuity?
Sharpness or keenness of thought, vision, or hearing

What is Perception?
The ability to see, hear, or become aware of something through the senses

Perception is a process by which we organize and interpret the patterns of stimuli in our
environment, the immediate intuitive recognition, as of an aesthetic quality.

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The separation of two lines placed end to end can be perceived more readily than the separation
of 2 lines placed side by side.

Acuity increases with increase in intensity of illumination.

Spatial Perception
All spatial implications are mentally conditioned by the environment and experience of the viewer.

Vision is experienced through the eyes, but interpreted with the mind. Perception involves the
whole pattern of nerve and brain response as well as the visual 'stimulus'.

left brain function

uses logic, detail oriented, facts rule, words and language, present and past, math and science,
can comprehend knowing, acknowledges, order/pattern perception, knows object name, reality
based, forms strategies, practical, safe.

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VS
right brain function
uses feeling, “big picture” oriented, imagination rules, symbols and images, present and future,
philosophy & religion, can “get it” (i.e. meaning), believes, appreciates, spatial perception, knows
object function, fantasy based, presents possibilities, impetuous, risk taking.

Two Types of Vision

1. Stereoscopic
The ability to overlap views,
which are slightly different into
one image. This visual process
created an illusion of three-
dimensional depth, making it
possible to judge distances.

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Retinal Disparity
*One of the most frequently employed types of information especially over short distances.

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*Unlikeness of the retinal images in the eyes, which are different spatial proportions.
If we hold up a cube in front of the eyes, the right eye will see slightly more of the side face on the
right, the left eye slightly more of the side on the left.

2. Kinesthetic
*Man experiences space in the movements of the eye from one part of a whole work of art to
another.

Perception of Objects
Objects can be perceived not only visually but by the sound of familiar voices, people can be
recognized. In identifying objects, they may be touched and weighed in hand. If they are food
objects, they maybe smelt and tasted. Thus, the observer may continue examining the object and
placing together the various sensory impressions until he is made up his mind what it is.

Perception of shape
The most important feature of a shape or object is its general outline or contour. Whenever we
look at objects, they seem to be clearly outlined and demarcated -separate or distinguish from-
from their background. With a solid object, the particular contour exhibited to us at any one
moment varies with its position in space.

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For example:
The visual shape of a square-toppled table is a square only when we look at it from above.

Figure-ground
A phenomenon wherein drawings consisting of black lines, any line which surrounds an area, and
which is recognized as representing an object is quickly picked by the observer, and it then seems
to him to stand out from the background in an obvious manner. No field of view is perceived all at
one dead level. Some part of it will always tend to become "figural" and to be differentiated from
the rest of the field which forms the "ground" to this figure. This figure then stands out, is readily
perceived and tended to and its appended and details are noted.

Figure–ground organization is a type of perceptual grouping that is a vital necessity for

recognizing objects through vision. In Gestalt psychology it is known as identifying a figure
from the background. For example, black words on a printed paper are seen as the
"figure," and the white sheet as the "background"

Example:
If you look at the object, you will see a cross figure om a dark, background. With a fixed gaze
closely on the field, a switch is made and the white cross becomes a background for the dark X
figure.

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Reversible Figure
If a drawing is presented wherein two parts are equally meaningful, there may be an alteration of
figure and ground between them.

Reversible Figure and Ground

The reversible goblet is demonstration of a figure-ground reversal.

Note that either the light portion (the goblet) or the dark portion (two profiles) can be perceived as
a figure against a background.

two people and a goblet

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Ambiguous Figure
Ambiguous figure ground effects an ambiguous drawing that can be seen either as a pretty young
woman or as an attractive old woman. The old woman’s eyes is the ear of the young woman.

Vanity
When you look at this figure from afar it looks so much like a skull but when near, it clearly shows
a lady in front of a mirror.

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Circle limit IV C (Heaven and Hell) a wood cut by Maurits Cornelis Escher. The angels and evil
alternate but neither seem to dominate the other looking at the black bat then swift to looking at
the white dove.

Artistic use of reversible figure and ground

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"Concave and Convex"

Shows an exterior view of the left-hand house, an interior view of the right-hand and either an
exterior or interior view of the house in the middle, depending upon one's choice. 1955

#7 USER REQUIREMENT AND PERCEPTION OF SPACE

Spatial Perception and Architecture
TMD STUDIO LTD
https://medium.com/studiotmd/spatial-perception-and-architecture-4f8ab99eeb41

The Visual Nature of Space

Experiencing space is a subtle act of the human body and mind. We use our eyes to visually probe
a space, making thousands of subconscious computations every second. Wayfinding, orientation,
direction, etc. all come from visual clues. The lens of our eye, with a 22mm focal length allows us to
experience perspective space in a consistent and readable way. Our neck and eyes move,
completing a spherical dome of information surrounding us at any point. But when a slight change
is introduced to this formula, we start to question what exactly space is.

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For me, this slight change in experiencing space was photography. For a few years I used an
adjustable wide-angle lens, appreciating the ability to capture as much space as possible. This
allowed me to distort space, and experience it in a way that I never had before. But this distortion
was an experiential lie. Transitioning back to a fixed 22mm lens, I learned that composition and
spatial effects of differential spatial typologies was much more important than the ability to distort
space. I felt the need to translate this back into my architecture.
Although I have been designing architectural objects for many years, it is not until I made these
observations and conclusions that I can say that I started designing spaces. The paces were
largely byproducts of a series of compromised design decisions, creating spaces that often felt like
leftovers, rather than being the driver of the design. When considering how we experience each
different space early on in the design process. I find I’m able to design spaces that are more pure,
intimate, and spatially powerful.

Primacy of Space
Space is self-evident, but the way we perceive it is not. Our brain has built in mechanism that allow
visual inputs to be recorded and processed, outputting information almost simultaneously that we
then act upon. The processing of visual information sometimes triggers cognitive loopholes. These
loopholes are known as optical illusions.

The image below is an example of an optical phenomenon called shape constancy. Take your two
hands, and hold them out in front of your eye. Move one hand double the distance away from your
eye as the second, and make a mental note of their perceived size. Now take your closer hand and
measure the farther hand with your index finger and thumb in a sort of pinching motion. Keep this
measurement hand where it is, and bring the hand which was farther away back to your eye. Now
you will realize that your brain allowed you to perceive both hands at almost the same size,
irrespective of their distance away from your eye. This is the result of memorizing sizes of known
objects, and not a spatial effect. There are numerous examples of optical illusions, but they do not
deal with the true nature of space. Illusions trick our brain’s visual mechanics, and have limiting
relevance on three dimensional spatial effects.

Most importantly I would look at Euclidean geometry, rectilinear shapes, three-dimensional

geometry, and space and objects as being real. My intent was not to question the existential nature
of space, but rather to investigate the way that physical spaces affect us as conscious beings. This
is the true nature of space, the primacy of space.

Increasing Complexity
While conducting my research on the various topics of interest, most writing made a series of basic
conclusions, which was then built upon to make further and more substantial claims. First, was that
past generations represent how they think about space through images, and that visual art
represented the spatial values of each culture. I would argue that by looking exclusively at images,
one can-not fully understand a culture’s understanding of spatiality. An example of where this was
not true was in ancient Greece, whose architecture was much more spatially refined than their art
from the same period. A second common assumption discovered in my readings is that our
development to read space is directional, and that Greek thinking would not have emerged without
Egyptian. Lars Macussen goes as far as to say that, “if a Renaissance image had popped up
among the Ancient Egyptians, they would not have been capable of seeing it as spatial in the same
way”. This conclusion also has its problems, as there is an abundance of new research that has
been produced in the last decade that suggests there is an objective aspect to our spatial
perception that is universal to all people. Another type of increasing complexity in spatial
representation are the medium and techniques we use to represent space.

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Historical Spatial Development

The rows below move from left to right in chronological development. The columns, from top to
bottom represent geometric knowledge, bodily orientation in space and the built environment of
each culture. Starting with pre-civilization, one can observe that the concept of geometry was
undeveloped. Their geometric knowledge, migration through space, and method of dwelling was
almost exclusively influenced by nature and movement. Next comes the development of calendar
and circular cultures. The ability to trace simple shapes in sand gave the first signs of geometrical
hierarchy, and their observance of the cosmos allowed them to begin forecasting the rising of the
sun, seasons, and astronomical events. A defining parameter was the worship of the world axis.
This coincided with the ability to live in larger settlements and organize themselves in a system of
grouped circular structures.

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LEARNING ACTIVITIES

Remote Learning: Drawing Exercises (Plates) and Research Papers; Consultation

REFERENCES

Books and E-books

• Architectural Theories of Design Book 1, by George Salvan; Goodwill Bookstore
• Big Ideas: Concepts, Developments, Explanations, Solutions; Jinny Beyer: Harper Collins, 2002
• Form, Space and Order, by Francis D.K. Ching; John Wiley & Sons
• Theory of Architecture, by Paul Allan Johnson; Van Nostrand & Reinhold

Electronic Sources
#2 •Designing Buildings Wiki,
https://www.designingbuildings.co.uk/wiki/Anthropometrics_in_architectural_design#:~:text=Anthropometrics%20is%20the%20co
mparative%20study,capabilities%20of%20the%20human%20body.&text=The%20underlying%20principle%20of%20anthropometrics
,adapt%20to%20suit%20the%20buildings.

•https://www.designingbuildings.co.uk/wiki/Anthropometrics_in_architectural_design#:~:text=Anthropometrics%20is%20the%20c
omparative%20study,capabilities%20of%20the%20human%20body.&text=The%20underlying%20principle%20of%20anthropometri
cs,adapt%20to%20suit%20the%20buildings.

#3 Scale and Proportion to Architecture, gledisadani December 8, 2017 https://gledisadani.wordpress.com/2017/12/08/scale-and-

proportion-introduction-to-architecture/

#4 •https://vanseodesign.com/web-design/design-unity/
• http://www.architecture-student.com/architecture/aesthetic-components-design-unity-elements/

#5 https://prezi.com/k2p3uxfxksyu/balance-and-gravitational-curve/

#6 by Valera, Sabusap & Valdevieso

https://prezi.com/zhkmyovcfv1s/visual-acuity-perception/

#7 Spatial Perception and Architecture, TMD STUDIO LTD

https://medium.com/studiotmd/spatial-perception-and-architecture-4f8ab99eeb41

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