ARC 077 :

THEORY OF
ARCHITECTURE 01
02
ASPECTS OF
ARCHITECTURE
ASPECTS OF ARCHITECTURE

❑ FUNCTIONAL- the placement, form, and features of a building must reflect its intended use and
the people who use it while permitting future adaptations or improvements.
-is the principle that rather than buildings being designed in accordance with past
precedents or stylistic trends (aesthetics), the underlying purpose of the building
should determine its form

❑ AESTHETIC– how beauty and design are inspiring each other

-is a branch of philosophy concerning studies on the nature and expression of beauty
or taste. The aesthetics of a building is one of the principal aspects considered in
architecture. Changes in the appearance of materials can differ due to kinetics of
the responses related to the material resistance as well as due to intensity of the
degrading factors.

❑ PSYCHOLOGICAL
A. FUNCTIONAL ASPECTS OF ARCHITECTURE

Spatial SEQUENCE
spatial FIT
I. FUNCTIONAL ASPECTS OF ARCHITECTURE
I. FUNCTIONAL ASPECTS OF ARCHITECTURE

A. SITE:
• Location (geography)a point or an
area on the Earth's surface or
elsewhere
• Building site, a place
where construction takes place
 FUNCTIONAL ASPECTS OF ARCHITECTURE

B. STRUCTURE:

• It is an arrangement and organization of interrelated elements in a

material object or system, or the object or system so organized
 FUNCTIONAL ASPECTS OF ARCHITECTURE

B. STRUCTURE:

The Oculus, Santiago Calatrava The Ogden Center by Daniel Libeskind | Office buildings
 FUNCTIONAL ASPECTS OF ARCHITECTURE

C. MATERIAL
• It is used for construction process.
May naturally occurring substances,
such as clay,rocks, sand and wood,
even twigs and leaves, have been
use to construct buildings.
• Apart form naturally occurring
materials, many man made products
are in use, some or more and some
less synthetic
 FUNCTIONAL ASPECTS OF ARCHITECTURE

C. MATERIAL

The Jean-Marie Tjibaou Cultural

Centre | Architect Renzo Piano

Pyramids of Giza

Guggenheim Museum Bilbao | Frank

Gehry
FUNCTIONAL ASPECTS OF ARCHITECTURE

D. SERVICE
• Building services are the systems
installed in a buildings to make them
comfortable, functional, efficient and
safe.

• Structural
• Plumbing
• Electrical
• Fire safety
• Maintenance
FUNCTIONAL ASPECTS OF ARCHITECTURE

E. CIRCULATION - Refers to the ❑ CONFIGURATION OF THE PATH – the

way people move through and interact sequences of spaces
with a building
❑ APPROACH – the distant view
❑ PATH-SPACE RELATIONSHIP – edges, nodes,
and termination of the path

❑ ENTRANCE – from outside to inside

❑ FORM OF THE CIRCULATION SPACE – corridors,
halls, galleries, stairways and rooms
FUNCTIONAL ASPECTS OF ARCHITECTURE

E. CIRCULATION
FUNCTIONAL ASPECTS OF ARCHITECTURE

F. EXPRESSION – in
architecture implies a
clear and authentic
displaying of the character
or personally of an
individual (Architect).
FUNCTIONAL ASPECTS OF ARCHITECTURE

G. CHARACTER - and style of

the a building is based on its
functional aspects, associated
aspects and personal aspect.
- The character of some building
is expressed through elements
associated with certain
influences.
FUNCTIONAL ASPECTS OF ARCHITECTURE
 FUNCTIONAL ASPECTS OF ARCHITECTURE

H. EXPERIENCE - in
architecture is the art of
the articulating a dear
user story/journey
through a design as
intended by the
architect.
II.ASPECTS OF ARCHITECTURE : AESTHETICS

• Aesthetic of a building is one of the principal aspects considered in architecture.

The appeal of a building covers the combined effects of a building’s shape, size,
texture, colour, balance, unity, movement, emphasis, contrast, symmetry,
proportion, space, alignment, pattern, decoration, culture and context.

• ELEMENTS OF AESTHETIC :
a. Mass and space
b. Proportion
c. Symmetry
e. Balance
d. Contrast
e. Decoration
f. Massing
 II.ASPECTS OF ARCHITECTURE : AESTHETICS

ELEMENTS OF AESTHETIC :
a. Mass and space - are the raw materials of architectural form; from them
the architect creates an ordered expression through the process of
composition.
- Mass refers to the size or physical bulk of a building, and can
be understood as the actual size, or size relative to context. And
Space encompasses the volume of a structure, the parts of a
building we move through and experience
b. Proportion – the relationship between different things or parts with respect
to comparative size, number or degree. Example : Golden section,
classical orders, ken , modular, anthropometry, scale and renaissance
theories.
II.ASPECTS OF ARCHITECTURE : AESTHETICS

ELEMENTS OF AESTHETIC :
c. Symmetry - is the reflection of shared forms, shapes, or angles across a
central line or point called the axis. Basically, components that
mirror each other across an axis are symmetrical.

d. Balance – stability of an arrangement , it refer to the way an arrangement

appears to the eye.

e. Contrast - is mainly used to enhance the expressiveness of significant

urban spaces, to create urban dominants, to form accents in
panoramas that are homogeneous in character. A contrasting
architectural object can stand in a space separate from other
buildings.
II.ASPECTS OF ARCHITECTURE : AESTHETICS

ELEMENTS OF AESTHETIC :

f. Decoration - refers to the 'dressing' of a room or interior space. It can be

referred to as 'interior decoration' or 'decor' and relates to the
aesthetics of a space and its furniture, furnishings, surface
finishes, lighting, and so on.

g. Massing - refers to the structure in three dimensions (form), not just its
outline from a single perspective (shape). Massing influences the
sense of space which the building encloses, and helps to define both
the interior space and the exterior shape of the building.
II.ASPECTS OF ARCHITECTURE : PSYCHOLOGICAL

mood and productivity

 II.ASPECTS OF ARCHITECTURE : PSYCHOLOGICAL

• Physical structure has a significant effect on human behavior.

• As humans find themselves spending more time enclosed within the walls of structure, it becomes
valuable to design structures integrating features of the natural environment and structural
landscape features into the human-made environment (Joye, 2007).

• Research suggests the design of residential and commercial space has pervasive effects on its
inhabitants and is an important consideration in architectural design.

• Space, form, and light are elements that are often incorporated either purposefully or
unconsciously for aesthetic or practical reasons but more pointedly give people meaning, purpose
and stability amidst an ever changing physical universe of seeming chao
03
CHROMATIC E N E R G Y OF
A R C H ITE CTUR A L D E S I G N
❑ CHROMATIC - Came from the Greek word
“chromatikos” which means “color” .
-Anything related to color or color phenomena.

❑ ENERGY - Came from the Greek word “energos”

which means “active”
-The capacity of acting or being active.
COLOR
• a phenomenon of light and visual perception that may be described
in terms of an individual's perception of hue, saturation and tonal
value.

• is the aspect of appearance of object and light sources that may be

described in terms of hue, brightness and saturation for light source.

• Attributes that most clearly distinguishes a form from its environment

and that which affects the visual weight of a form.
C h r o m a t i c E n e r g y o f A r c h i t ec t ur al D e s i g n

THREE PARTS OF COLOR

1. HUE – It is the basic

and pure color; the
attribute of color by virtue
of which it is discernible
as say, red,
green ,etc.
 C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n

THREE PARTS OF COLOR

2. C H R O M A
– Is the degree by which a
color differs from grey of the same
lightness or brightness; it
corresponds to the saturation of
the perceived color, its purity or
intensity.
C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n

THREE PARTS OF COLOR

3. VALUE – Is the relative

degree of lightness or darkness of a
particular color.
❑ TINT - refers to a light value of a
hue and is achieved by adding
white to the hue.
❑ S H A D E - refers to a dark value
of a hue by having black added
to the hue.
 C h r o m a t i c E n e r g y o f A r c h i t ec t ur al D e s i g n

COLOR WHEEL
• is an abstract illustrative
organization of color
hues around a circle that
shows relationships
between primary colors,
secondary colors,
complementary colors
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COLOR WHEEL

• PRIMARY COLORS -
are the only colours that cannot
be made by mixing together other
colours
❑ Red
❑ Yellow
❑ Blue
C h r o m a t i c E n e r g y o f A r c h i t ec t ur al D e s i g n

COLOR WHEEL
• SECONDARY
COLORS - are made by
mixing any two of the primary colours
in equal quantities:
❑ ORANGE
❑ GREEN
❑ VIOLET
C h r o m a t i c E n e r g y o f A r c h i t ec t ur al D e s i g n

COLOR WHEEL
• TERTIARY COLORS
- by combining the neighbour of
any of the primary or secondary
colours in equal quantities, we
can add a further six colours to
the colour wheel.
- Complimentary Colors
C h r o m a t i c E n e r g y o f A r c h i t ec t ur al D e s i g n

COLOR WHEEL
• TERTIARY COLORS

▪ yellow + orange = yellow-orange

▪ orange + red = red-orange
▪ red + violet = red-violet
▪ violet + blue = blue-violet
▪ blue + green = blue-green
▪ green + yellow = yellow-green
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Colors do not exist

without the presence of
light
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LIGHT - is something that makes vision

possible.
-Light gives life, and beauty to
Architectural Designs
C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n

Colors have psychological effects upon people:

1. Colors reflect people’s attitude or their other

views in life.
2. Color is often associated with a person’s
emotions.
3. Color may also influence a person’s mental
or physical state.
C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n

PSYCHOLOGY OF
COLORS
C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n

PSYCHOLOGY OF
COLORS
There are also commonly noted
psychological effects of color as it
relates to two main categories:

1. W a r m Colors which can spark a

variety of emotions ranging from
comfort to warmth to hostility and
anger. Ex. Red, Yellow, Orange
C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n

PSYCHOLOGY OF
COLORS

2. Cool Colors - which often

spark feelings of calmness
as well as sadness. Ex.
Green, Blue, Purple
C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n

PSYCHOLOGY
OF COLORS

• Color psychology- is
the study of hues as it
affects human behaviour
and how it changes the
perception of man to the
things that surround him.
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PSYCHOLOGY
OF COLORS

This color psychology is very

important in architectural interiors as
well as exteriors as the color that the
designer will introduce to the space
will greatly affect the everyday
experience of the user.
C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n

PSYCHOLOGY
OF COLORS

The atmosphere or aura can

change drastically depending
on the color choice, color
combination and amount of
color applied in a particular
space.
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Effect: exciting, stimulating

Association:
Positive: passionate, fervid, active, strong, warm
Negative: intense, aggressive, raging, fierce, bloody

Character: Red is the most dominant and dynamic color. The eye
actually has to adjust focus, since the natural focal point of red lies
behind the retina. Consequently red appears closer than it is.

Ceiling: intruding, disturbing, heavy

Walls: aggressive, advancing
Floor: conscious, alert
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RED
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Effect: exciting, stimulating, cheering

Association:
Positive: jovial, lively, energetic, extroverted
Negative: intrusive, blustering

Character: Orange is less masculine than red. It has very few

negative associations. However, it may appear cheap or without vigor
if low in saturation.

Ceiling: stimulating, attention-seeking

Walls: warm, luminous
Floor: activating, motion-oriented
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ORANGE
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Effect: cheering

Association:
Positive: sunny, cheerful, radiant, vital
Negative: egocentric, glaring

Character: When pure, yellow is the happiest of all colors. In radiates

warmth, cheerfulness, and inspiration and signifies enlightenment, and
communication.

Ceiling: light (towards lemon), luminous, stimulating

Walls: warm (towards orange), exciting to irritating (highly saturated)
Floor: elevating, diverting
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YELLOW
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Effect: retiring, relaxing

Association:
Positive: tranquil, refreshing, quiet, natural
Negative: common, tiresome, guilty

Character: Contrary to red, when looking at green the eye focuses

exactly on the retina, which makes green the most restful color to the
eye. Green can symbolize nature but also mold and sickness.

Ceiling: protective, reflection on the skin can be unattractive

Walls: cool, secure, calm, reliable, passive, irritating if glaring (electric
green)
Floor: natural (if not too saturated), soft, relaxing, cold (if towards blue)
C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n

GREEN
C h r o m a t i c E n e r g y o f A r c h i t ec t ur al D e s i g n

Effect: retiring, relaxing

Association:
Positive: calm, sober, secure,
comfortable, noble
Negative: frightening, depressing,
melancholy, cold

Character: Blue appears to be

transparent, wet, cool, and relaxing.
Opposite to red, blue will decrease a
person’s blood pressure and pulse
rate.

Ceiling: celestial, cool, receding (if

light), heavy and oppressive (if dark)
Walls: cool and distant (if light),
encouraging and space deepening (if
dark)
Floor: inspiring feeling of effortless
movement (if light), substantial (if
dark)
C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n

BLUE
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Effect: subduing

Association:
Positive: dignified, exclusive
Negative: lonely, mournful, pompous, conceited

Character: Purple is a mixture of red and blue (the two colors that
are psychologically most opposed). Purple can appear delicate and
rich, or unsettling and degenerate.

Ceiling: disconcerting, subduing

Walls: heavy, overpowering
Floor: fleeting, magical
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PURPLE
C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n

Effect: lively (bubble-gum pink), calming (light pink)

Association:
Positive: lively, calming, intimate
Negative: too sweet, weak
Character: Pink must be handled carefully. It is generally considered
feminine, but depends much on the nuance used (bubble-gum pink, or
old rose)
Ceiling: delicate, comforting
Walls: aggression-inhibiting, intimate, too sweet if not grayed down
Floor: too delicate, not used very often
C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n

PINK
C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n
Effect: subduing

Association:
Positive: warm, secure, stable
Negative: oppressive, heavy

Character: There is a great

difference between wood and
brown paint. In certain institutions
brown should be avoided since it
evokes fecal associations. Wood
and stone on the other hand
appear very comfortable, and
warm.

Ceiling: oppressive and heavy (if

dark)
Walls: secure and assuring if
wood, much less so if paint
Floor: steady, stable
C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n

BROWN
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Effect: disconcerning

Association:
Positive: clean, crisp, bright
Negative: empty, sterile

Character: There are a lot of psychological and physiological

justifications for not using white as a dominant color.

Ceiling: empty, no design objections-helps diffuse light sources

and reduce shadows
Walls: neutral to empty, sterile, without energy
Floor: touch-inhibiting (not to be walked upon)
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Effect: neutral to calming

Association:
Positive: neutral
Negative: boring

Character: Gray fails to have much psychotherapeutic

application. Thus, the current fashion of using it with various
accent walls defies all logic.

Ceiling: shadowy
Walls: neutral to boring
Floor: neutral
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Effect: ominous

Association:
Positive: deep, abstract
Negative: dungeonlike, night, grief, death

Character: Black is associated with oppressive power,

darkness, and the unknown. In architecture it is often used
to make something appear as receding, such as the HVAC
in a ceiling.

Ceiling: hollow to oppressive

Walls: ominous, dungeonlike
Floor: odd, abstract
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COLOR USAGE ( ACCORDING TO LOCATION)

1. RESIDENTIAL - Colors used within the home must be

tolerated by the whole family.

2. COMMERCIAL - institution is a home away from home for

many people, and the inclination to introduce some of the
principles used in residential work is always present. But all
the colors in such an installation must relate to each other and
to a central scheme. and personal choice which conflicts with
the appearance of the general scheme cannot be tolerated.
C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n

COLOR USAGE ( ACCORDING TO LOCATION)

3. INDUSTRIAL
• the kind of artificial light must be taken into consideration in
the design of industrial interiors. It will depend, to a large
extent, upon the type of operation performed.
• It is equally important that the proper kind of light be used to
avoid shadows and glare. For ease of seeing, it is generally
wise to keep the wall color darker than the machines or work
benches. If the space is small, the walls can be warm in color
(yellow, orange, etc.)
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COLOR AS AN EXPRESSION ELEMENT OF DESIGN

1. The uniform colour of the wall of a room

2. The effect of the visible size on color.
3. Colors on a non-uniform background
4. The effect of color to the higher form
member.
C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n

COLOR AS AN EXPRESSION
ELEMENT OF DESIGN

1. The uniform color of the

wall of a room.
• "SPREADING EFFECT“ – color
spreading is a long-range assimilative spread of
color emanating from a thin colored contour
running in the same direction/continuation or being
contiguous/adjacent to a darker chromatic contour
and imparting a figure-ground effect across a large
area
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COLOR AS AN EXPRESSION
ELEMENT OF DESIGN
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COLOR AS AN EXPRESSION ELEMENT OF DESIGN

2.The effect of the visible size on

colour.

• AREA EFFECT - Color covering

a small surface is less intense in
colour than the same local colour
spread over a large surface
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COLOR AS AN EXPRESSION ELEMENT OF DESIGN

3. Colors on a non-
uniform background
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COLOR AS AN EXPRESSION
ELEMENT OF DESIGN
C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n

COLOR AS AN EXPRESSION
ELEMENT OF DESIGN
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COLOR AS AN EXPRESSION ELEMENT OF DESIGN

4.The effect of color to the higher form member.

• IRADIATION
PHENOMENON-A small,
light-coloured object, seen
against a dark background
appears larger than the same
object, darker coloured, seen
against a white background.
C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n

COLOR AS AN EXPRESSION ELEMENT OF DESIGN

• Iradiation Effect -
the white figure looks
larger in size than the
black one. They are
geometrically equal.
C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n

THE COLOR S P E C T R U M
C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n
COLOR S Y S T E M S AND COLOR
SCHEMES
• M u n s e l l Color S y s t e m is based
on a three- dimensional model in
which each color is comprised of
three attributes of hue (color itself),
value (lightness/darkness) and
chroma (color saturation or
brilliance)
C h r o m a t i c E n e r g y o f A r c h i tec tur al D e s i g n
COLOR SYSTEMS AND
COLOR SCHEMES
O ST W A L D COLOR S Y S T E M - creates a
color based on dominant wavelength,
purity and luminance, mapping the values
of hue, saturation, and brightness.

The full colors are arranged around a

compete circle starting out with four basic
colors :
• YELLOW to the North,
• RED to the East,
• BLUE to the South,
• SEA-GREEN to the West and
• a 24 color-hue is constructed with equal
spacing in a circular arrangement.
C h r o m a t i c E n e r g y o f A r c h i t e c t u ral D e s i g n

THE COLOR S C H E M E

• COLOR S C H E M E consists of a combination of colors used in a range of

design disciplines such a s architecture, fine art, interior design to graphic
design.

• Each color scheme consists of one or more of the twelve colors present on
the color wheel. B y pairing different colors with each other, you can create
endless color palettes to us e in any composition.

• Different color combinations evoke different m o o d s or tones by using color

theory and color psychology.

• The color scheme creates a mood that is felt by the user, and can also
make the various elements in a space more cohesive and unified.
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