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Pointers to review: LINE - A point extended becomes a line with Length, Direction,
Position properties.
Theory of Architecture 1

Introduction to Theory of Architecture. PLANE - A line extended becomes a plane with properties of
Length and width, Shape, Surface, Orientation, and Position.

 What is Architecture;
VOLUME - A plane extended becomes a volume with properties of
Length, width, depth, Form and space, Surface, Orientation, and
Greek words “Architeckton” means [Archi – great/chief, Position.
tekton – builder/creator] Thus, in English [Archi – first/original,
tect – the ability to put things together] in Sanskrit root [ARTS
- everything in its right place.]  Properties of Form (Shape, Size, Color, Texture, Position,
Orientation, Visual Inertia)

 Analysis of a set of facts about one another.

Shape - The characteristic outline or surface configuration of a
 Belief, policy, or procedure proposed or followed as the
particular form. The shape is the principal aspect by which we
basis of actions.
identify and categorize forms.
 An ideal or hypothetical set of facts, principles, or
circumstances of a body of fact on science or art
 Architectural Orders Size - The physical dimensions of length, width, and depth
 A plausible or scientifically acceptable general principle
or body of principles offered to explain the
phenomenon. Of form, while these dimensions determine the properties of a form,
its scale is determined by its size relative to other forms in its
 Architectural Theory contexts.

 Descriptive: Explains phenomenon or events; their Color - A phenomenon of light and visual perception that may be
neutral and do not lean towards any ideology described in terms of an individual's perception of hue, saturation,
 Prescriptive: Prescribes bases or guidelines and tonal value. Color is the attribute that most clearly
 Critical: Challenges relationships between architecture distinguishes a form from its environment. It also affects the visual
& society weight of a form.

Texture - The visual and especially tactile quality is given to a

 Architectural Systems
surface by the size, shape, arrangement, and proportions of the
parts. Texture also determines the degree to which the surface of
a form reflect or absorb incident light.

Position - The location of a form relative to its environment or the

visual field within which it is seen.

Orientation - The direction of a form relative to the ground plane,

Elements of Design.
the compass points, other forms, or to the person viewing the form.

 Primary Elements of Design (Point, Line, Plane, Volume) Visual Inertia - The degree of concentration and stability of a form.
The visual inertia of a form depends on its geometry as well as its
POINT - The two ends of a line, the intersection of two lines. The orientation relative to the ground plane, the pull of gravity, and our
meeting of lines at the corner of a plane or volume the center of a line of sight
field.
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Form and Space. Dimensional Transformation - A form can be transformed by Additive Transformation - A form can be transformed by addition
altering one or more of its dimensions and still retain as a member of elements to its volume. The nature of the additive process and
of a family of a form. A cube, for example, can be transformed into the number and relative sizes of the elements being attached
 Types of Form (Organic, Geometric, Abstract)
similar prismatic forms through discrete changes in height, width, determine whether the identity of the initial form is altered or
or length. It can be compressed into a planner form or be stretched retained. Ex: Additive Transformation of a Parent Form by the
Organic – Organic architecture is a type of architectural design out into a linear one. Ex: Dimensional Transformation of a cube into :Attachment of Subordinate Parts United d'Habitation Venice,
wherein buildings are inspired by, built around, and blend in with a vertical slab United d'Habitation Firminy-Vert, France, 1963-68, 1577-92, Andrea Palladio
their natural surroundings. Le Corbusier

Geometric – Geometric forms are forms that can be constructed

using geometry, such as squares, rectangles, circles, cones,
cubes, and so on. Geometric forms are commonly found in
architecture, structural and civil engineering

Abstract - Abstract. The structures in nature are great lessons for

human study forms, as well as, suggest a variety of possible
architectural forms.

 Form Transformation (Dimensional, Additive, Subtractive)

Many variations of a form can be generated from the primary Subtractive Transformation - A form can be transformed by
solids, by manipulating dimensions of the solids or adding or subtracting a portion of its volume. Depending on the extent of the
subtracting elements. subtractive process, the form can retain its initial identity or be
transformed into a form of another family. For example, a cube can
The following sketches show: retain its identity as a cube even though a portion of it is removed,  Organization of Forms (Centralized, Linear, Radial,
or be transformed into a series of regular polyhedrons that begin to Clustered, Grid)
approximate a sphere. Ex: : Subtractive Transformation Creating
 Examples of how a cube can be transformed by altering Volumes of Space Gwathmey Residence Amagansett, New York,
its dimensions. Centralized - forms are often freestanding, and isolated within
1967, Charles Gwathmey/Gwathmy Siegel. their context.
 Examples of how a cube can be transformed by
subtracting portions of its volume.
 Example of how a cube can be transformed with the
addition of elements to its volume.

Linear - A linear form is often a response to a topography or site

context. They tend to demonstrate a selection of forms along a line.
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Radial - A radial form features a centrally located core with linear APPROACH - The Distant View
forms extending outwards from the centre. Radial forms can create
a network of centres linked by the linear forms.

Interlocking – where the forms are inter connected to one another

 FRONTAL - A Frontal approach leads directly to the

Clustered - A clustered form tends to be a collection of varying entrance of a building along a straight, axial path. The
forms. They are often based on a more functional requirement, and visual goal that terminates the approach is clear It may
tend not to be regular or formal. A clustered form can be be the entire front facade of a building or an elaborated
interlocking, face to face, or edge to edge amongst others. entrance within the plane.
Collisions of geometry

There are often occasions where two geometries will collide to

create a new composite form. This may occur in many
circumstances:

Grid - A grid form demonstrates a form that is focused on a grid  To suit the functional requirements of the internal space  An OBLIQUE - approach enhances the effect of
layout. These forms tend to be considered in third dimension and  To display a symbolic importance perspective on the front façade and form of a building.
are of a modular framework.  To direct a space toward or away from a specific site The path can be redirected one or more times to delay
context feature and prolong the sequence of the approach, If a building
 To create a volume of space within an existing form is approached at an extreme angle, its entrance can
 To demonstrate the nature of the structure project beyond its façade to be more clearly visible.
 To create a symmetry in the building
 To respond to site context or topography
 To respond to an existing path or movement through the
 Possibilities of Grouping of Forms (Spatial Tension, Edge-to- site
Edge Contact, Face-to-Face Contact, Interlocking Volume)
 Space Interrelationship (Space within a Space, Interlocking
Spatial tension – where the forms are within close proximity to Spaces, Adjacent Spaces, Space linked by a Common
one another  SPIRAL - A spiral path prolongs the sequence of the
Space) approach and emphasizes the three-dimensional form
of a building as we move around its perimeter. The
building entrance might be viewed intermittently during
the approach to clarify its position or it may be hidden
until the point of arrival.
Edge to Edge – where the forms are sharing a common edge

 Circulation (Approach, Entrance, Configuration of Path);  Portals and gateways have traditionally been means of
Visual Acuity and Perception orienting us to the path beyond and welcoming our
Face to Face – where the forms have corresponding surfaces entry.
which are parallel to one another
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 From a location point of view an entrance can be

centered within the frontal plane of a building, or be
placed off-center to create a condition of local symmetry
about its opening
 The location of an entrance relative to the form of the
 No matter what the form of the space being entered or
space being entered will determine the configuration of
the form of its enclosure, the entrance into the space is
ENTRANCE - From Outside to inside the path and the pattern of the activities within the space
best signified by establishing a real or implied plane
perpendicular to the path of approach.

 Entering into a defined field of exterior space, a building  For the purposes of classification groups can be put
or a room within a building involves the act of together in the following categories: Flush, Projected,
penetrating a vertical plane that distinguishes one and Recessed. A flush entrance maintains the
space from another and separates, where you are, from continuity of the surface of a wall and can be, if desired,
where you are going deliberately obscured. The idea of an entrance may be visually reinforced by:
 A projected entrance forms a transitional space,
announces its function to the approach, and provides
overhead shelter  Making the opening lower, wider, or narrower than
 A recessed entrance also provides shelter and receives anticipated
a portion of exterior space into the realm of the building  Making the entrance deep or circuitous
 Articulating the opening with ornamentation or
decorative embellishment
 This act of entering can be made significant in a number
of ways not just be punching a hole in a wall. A passage
can be created through an implied plane established by
two pillars or an overhead beam. If greater visual and
spatial continuity between two spaces is desired, even
a change in level can establish a threshold and mark
the passage from one place to another.
CONFIGURATION OF THE PATH - The Sequences of Spaces

 In each of the categories, the form of the entrance can

 Normally when a wall is used to define and enclose a be similar to, and serve as a preview of the form of the
space or series of spaces, an entrance is space about to be entered  All paths of movement, those of people, cars, goods, or
accommodated by an opening in the plane of the wall.  Or it can contrast with the form of the space about to be services are linear in nature
However, the form of the openings can range from a entered to reinforce its boundaries and emphasize its  All paths have a starting point, after which we are taken
simple hole in the wall to an elaborate, articulated character as a place through a sequence of spaces to our destination
gateway.

The contour of a path depends on our mode of transportation

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 Pedestrians are free to turn, pause, stop and rest  The configuration of a path may reinforce a spatial  All paths are linear
at will organization by paralleling its pattern  A Straight path, can be the primary organizing element
 Wheeled vehicles, for example, a bicycle has  On the other hand the configuration may contrast with for a series of spaces
less freedom, a car even less, in changing pace the form of the spatial organization and serve as a visual  Also it can be curvilinear or segmental, intersect other
and direction abruptly counterpoint to it paths, have branches or form a loop
 Interestingly whilst wheeled vehicles may require  Once we are at the stage of being able to map out the
a path with smooth contours, reflecting turning overall configuration of the paths in a building mentally, RADIAL
radii, the width of the path can be tailored tightly our orientation within the building and our
to its dimensions, pedestrian needs a greater understanding of its spatial layout will be made clear
volume of space their bodily dimensions and  A Radial configuration has linear paths extending from
greater freedom of choice along a path. or terminating at a central, common point

SPIRAL

 A Spiral configuration is a single, continuous path that

originates from a central point, revolves around it and
becomes increasingly distant from it.

GRID

 Persons approaching an intersection or crossing are  A Grid configuration consists of two sets of parallel
always faced with a decision paths that intersect at regular intervals and create
 The Continuity and Scale of each path at the square or rectangular fields of space
intersection helps us to distinguish between majour
routes leading to major spaces and secondary paths
NETWORK
leading to less important spaces
 If the paths at a crossing are equal, sufficient space
must be provided to allow people to pause and orient  A Network configuration consists of paths that connect
themselves established points in space
 The form and scale of entrances and paths must also
convey the functional and symbolic distinction between COMPOSITE
public promenades, private halls, and service corridors
 In reality, a building usually employs a combination of
the different paths
 Important points in any pattern are centers of activity,
entrances to rooms and halls and places for vertical
circulation provided by stairways/ramps and elevators.

 These nodes punctuate the paths of movement through

a building and provide opportunites for pause, rest and
reorientation
 To avoid the creation of a disorienting maze, a
hierarchical order among the paths and nodes of a
building should be established by differentiating their
 The nature of the configuration of a path influences and scale, form, length and placement
is influenced by the organizational pattern of the spaces
it links LINEAR
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PATH-SPACE RELATIONSHIPS - Edges, Nodes, and  A distinction in scale should be established between a
Terminations of the Path public promenade, a more private hall, and a service
corridor
 A narrow, enclosed path naturally encourages forward
motion

FORM OF THE CIRCULATION SPACE - Corridors, Halls, To accommodate more traffic as well as to create spaces for
Galleries, Stairways and Rooms pausing, resting, or viewing, sections of a path can be widened.
Paths may be related to the spaces they link in a number of ways:
 The path can also be enlarged by merging with the
spaces it passes through
Pass by Spaces
 Within a large space, a path can be random, without
form or definition, and be determined by the activities
 The integrity of each space is maintained and arrangement of furnishings within the space
 The configuration of the path is flexible
 Mediating spaces can be used to link the path with the  Spaces for movement form an integral part of any
spaces building organization and occupy a significant amount
of the volume of a building
 If considered just as functional linking devices, then
circulation paths would be endless, corridor-like spaces
 The form and scale of a circulation space, however,
should accommodate the movement of people as they
walk, pause, rest, or take in a view along a path.

The form of a circulation space varies according to how:

PASS THROUGH SPACES
 Its boundaries are defined
 The path may pass through a space axially, obliquely or  Its form relates to the form of the spaces it links
along its edge  Its qualities of scale, proportion, light and view are
 In cutting through a space, the path creates pattern of articulated
rest and movement within it  Entrances open onto it
 It handles changes in level with stairs and ramps  If steep, a stair can make ascent physically tiring as well
as psychologically forbidding, and can make descent
precarious
 If shallow, a stair must have treads deep enough to fit
our stride.
A circulation space may be:  A stairway must be wide enough to comfortably
accommodate our passage as well as any furnishings
Enclosed - Forming a public galleria or private corridor that relates and equipment that must be moved up or down the
to the spaces it links steps
TERMINATE IN A SPACE  The width of a stairway also provides a visual clue to the
public or private nature of the stairway
Open on One Side - Forming a colonnaded passageway that
 Wide, shallow steps can serve as an invitation, while a
 The location of the space establishes the path becomes a physical extension of the snace nasses through
narrow, steep stairway can lead to more private places
 This path-space relationship is used to approach and  While the act of walking up a stairway may convey
enter, functionally or symbolically important spaces  The width and height of a circulation space should be privacy, aloofness, or detachment, the process of going
proportionate with the type and amount of movement it down can imply moving toward secure, protected or
must handle stable ground
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 The space a stairway occupies can be great, but its form Principles of Design Composition.
can be fitted into an interior in several ways
 It may be treated as additive form or as a volumetric
 Scale (Visual, Human, Technical)
solid from which space for movement as well as rest
have been carved out
 The stairway can run along one of the edges of a room,
wrap around the space, or fill its volume
 It can be woven into the boundaries of a space or be  Theories of Proportion (Fibonacci Sequence, Golden
 Landings interrupt the run of a stair and enable it to
extended into a series of platforms for seating or Section, Golden Rectangle, Modulor, Regulating Lines,
change direction
terraces for activity Classical Orders, Renaissance Theories, Ken)
 Landings also provide opportunities for
 A stairway can be an organizing element and meander
 rest and possibilities for access and outlook from the
through and weave together series of spaces and
 Balance (Symmetrical, Asymmetrical, Gravitational)
stairway  Symmetry (Bilateral, Radial, Local); Rhythm (monotony,
different levels of building or outdoor spaces.
 Together with the pitch of the stairs, the locations of variety, unity, complexity, and harmony)
 Landings which are visible on approach invite ascent,
landings determine the rhythm and choreography of our  Contrast; Order (Hierarchy by shape, size, and placement)
as do treads which spill out at the bottom of a stairway
movements as we ascend or descend its steps
 On the other hand, to offer accesss to a private place or
 Stairs in accommodating a change in level, can
signify unapproachability, the path of a stair can rise Light, Color, and Texture
reinforce the path of movement, interrupt it,
steeply between walls through a narrow shaft of space
accommodate a change in its course, or terminate it
 Stairs are three-dimensional forms just as moving up or
prior to entering a major space.  Effects of Light
down a stairway is a three-dimensional experience
 Color (Categories of Color, Color Combination, Tonal Values,
Emphasis on Color Value, Psychology of Colors)
 Texture in Design.

Spatial Theories

 The configuration of a stairway determines the direction

 Anthropometrics and Ergonomics (Western and Asian
Standards)
of our path as we ascend or descend its steps
 There are several basic ways in which to configure the
runs of stairs: Straight run stair, L shaped stair, U Theory of Architecture 2
shaped stair, Circular stair, Spiral stair and Geometric
Stair.  Architectural Design Process and Methodologies
 Conceptualization Techniques of Architectural design
 Masters of Architecture
 Functional Concepts and the Interior environment
 Value, Aspirations, and Culture
 Stairs and stairways provide for our vertical movement
 Design and Public policy
between the levels of a building or outdoor space  Activity analysis and linkages for shelter efficiency
 The slope of a stairway, determined by the dimensions  Environmental concept in Architectural Design
of its risers and treads, should be proportioned to fit our  Energy conservation and the Design Process
body movement and capability
 This three-dimensional quality can be exploited when Final Exam
we treat it as sculpture, freestanding within a space or
attached to a wall plane
 Further a space can itself become an oversized
elaborated stairway