THEORY OF ARCHITECTURE (ARC)

2023-2024: Ar. Ramil Tibayan

THEORY OF ARCHITECTURE 1: ARCHITECTURE AND THE PRIMARY ELEMENTS OF FORM

TERM DEFINITION
ETYMOLOGY ● Architecture
● Latin: architectura,
● from the Greek ἀρχιτέκτων
● arkhitekton, from ἀρχι- "chief" and
● τέκτων "builder, carpenter, mason"
By Definition:
● the art or science of building art or practice of designing and building
structures especially habitable structures in accordance with the
principles determined by aesthetic and practical or material
considerations
● Formation or construction whether the result of conscious act of growth
or of random disposition of the parts
● The exercise or an instance of the exercise of art and science of
architecture
● A method or style of building characterized by certain peculiarities of
structure or ornamentation
● The art and science of designing and building structures, or large
groups of structure, in keeping with aesthetic and functional criteria
● Structures built in accordance with such principles ― utilitas, firmitas,
and venustas—generally translated as ―utility, firmness, and delight-
"Vitruvius"
3 REQUIREMENTS UTILITAS utility, use, function
OF FIRMITAS firmness, strength
ARCHITECTURE VENUSTAS delight, beauty, aesthetics
- VITRUVIUS
POINT ● Marks a position in space; Conceptually, it has no length, width or
depth It is static, centralized and directionless
● As the prime element in the vocabulary of form, it serves to mark:
○ The two ends of a line
○ The intersection of two lines
○ The meeting of lines at the corner of a plane of volume
● To mark a position in space or on the ground plane, a point must be
projected vertically into a linear form
LINE ● A point extended; a critical element in the formation of any visual
construction
● It can serve to:
○ Join or link other visual elements
○ Support visual elements
○ Surround or intersect other visual elements
● The orientation of a line affects its role in a visual construction
● A vertical line can express a state of equilibrium with the force of gravity,
symbolize the human condition, or mark a position in space
● A horizontal line can represent stability, the ground plane, the horizon, or
a body at rest
● An oblique line may be seen as a vertical line falling or a horizontal line
rising
VERTICAL ● have been used throughout history to commemorate significant
ELEMENTS events and establish particular points in space
VERTICAL LINEAR ● can also define a transparent volume of space, as in the example
ELEMENTS above, the four minarets outline a spatial field which the dome of
Hagia Sophia rises in Splendor
● Linear members that possess the necessary material strength can
perform structural Functions
● Linear elements express movement across space
● Linear members form a three-dimensional structural frame for
architectural space
● A line can be an imagined element rather than a visible one in
architecture
● An example is the AXIS, a regulating line established by two distant
points in space and about which elements are symmetrically arranged
● Two parallel lines have the ability to visually describe a plane
STRAIGHT LINE is sturdy. It is masculine & belongs to architecture with a determined
mission to fulfill. However, it has its moods.
VERTICAL LINE expresses the spirit of the Gothic; it is proud & exalted; it is inspiration.
HORIZONTAL LINE represents the horizon of the seascape; it is calm and peaceful, it is repose.
DIAGONAL LINE symbolizes the flight of geese; it is vigorous or even angry, it is action.
CURVED LINE is more subtle than the straight. It is more graceful & sensitive. It is feminine
& represents that architecture which caters to the emotional rather than the
physical.
PLANE ● A line extended in a direction other than its intrinsic direction
● Conceptually has length and width but no depth
● Planes in architecture define three-dimensional volumes of mass and
space
● The properties of each plane – size, shape, color and texture – as well as
their spatial relationship to one another determine the visual attributes
of the form they define and the qualities of space they enclose
In architectural design, we manipulate three generic types of planes:
OVERHEAD PLANE The overhead plane can be either the roof plane that shelters the interior
spaces of a building from the climatic elements, or the ceiling that forms
the upper enclosing surface of the room.
WALL PLANE The wall plane, because of its vertical orientation, is active in our normal
field of vision and vital to the shaping and enclosure of architectural space.
BASE PLANE ● The base plane can either be the ground plane that serves as the physical
foundation and visual base for building forms, or the floor plane that
forms the lower enclosing surface of a room upon which we walk.
● The ground plane ultimately supports all architectural construction. It
can be manipulated to establish a podium for a building form It can be
elevated to honor a sacred or significant place; bermed to define outdoor
spaces or buffer against undesirable conditions; carved or terraced to
provide a suitable platform on which to build; or stepped to allow changes
in elevation to be easily traversed
● The wall planes isolate a portion of space to create a controlled interior
environment. Their construction provides both privacy and protection
from the climatic elements for the interior spaces of a building, while
openings within or between their boundaries reestablish a connection
with the exterior environment

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 ● The ceiling plane is usually out of reach and is almost always a purely
visual event in a space. It can be raised or lowered to alter the scale of a
space or to define spatial zones within a room. Its form can be
manipulated to control the quality of light or sound within a space
VOLUME ● A plane extended in a direction other than its intrinsic direction
becomes a volume
● Conceptually, a volume has three dimensions: length, width and depth

All volumes can be analyzed and understood to consist of:

● Form is the primary identifying characteristic of a volume
● It is established by the shapes and interrelationships of the planes that
describe the boundaries of the volume
● As the three-dimensional element in the vocabulary of architectural
design, a volume can be either a solid – space displaced by mass – or a
void – space contained or enclosed by planes
FLOOR PLAN Space defined by wall, floor and ceiling
ELEVATION ● Space displaced by the mass of a building
● Building forms that stand as objects in the landscape can be read as
occupying volumes in space
● Building forms that serve as containers can be read as masses that
define volumes of space

THEORY OF ARCHITECTURE 1: SHAPE AND FORM DEVELOPMENT

TERM DEFINITION
THE VISIBLE Consists of FORM
STRUCTURE
MASS - VOLUME - evidence of the 3rd dimension. It has:
1. DIRECTION - it is either vertical or horizontal in direction
2. SHAPE – geometric qualities (square, cylindrical, etc.)
PRIMARY SHAPES There are three primary shapes which are viewed and distorted in perspective:
1. circle – a series of points arranged equally and balanced about a point
2. triangle – a plane bounded by three sides, and having three angles
3. square – a plane figure having four equal sides and four right angles
PLATONIC SOLIDS - The primary shapes can be extended or rotated to generate volumes
whose forms are distinct, regular and easily recognizable.
- These forms are referred to as the platonic solids.
- Circles generate spheres and cylinders; triangles generate cones and
pyramids and squares generate cubes.
SURFACE - AREA surface with two-dimensions, as the façade of a building.
TEXTURE quality of surface treatment usually associated with materials either rough
or smooth, etc.
TONE light & shade caused by openings, projections, etc
COLOR either inherent or applied caused by spectrum hues.

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FORM ● In architecture usually mass is volume, and the surfaces which enclose
space have area.
● A plane extended in a direction other than its intrinsic direction
becomes a volume.
● Volume has three dimensions; length, width and depth.
● All volumes can be analyzed and understood to consist of points
(vertices where several planes come together) planes (surfaces, the
limits or boundaries of a volume) lines (edges, where two planes
meet).
● A volume can either be solid displaced by mass, or void space
contained or enclosed by planes.
● Form is the primary identifying characteristic of a volume,
● It is determined by the shape and interrelationships of the planes that
describe the boundaries of the volume.
● There are seven visual properties of form.

These are affected by the conditions under which we view them in terms
of:
➔ the perspective or angle of view our distance from the form,
➔ the lighting conditions and;
➔ The visual field surrounding the form.
Seven Visual Properties of Form
SHAPE The principal identifying characteristic of form; shape results from the
specific configuration of a form’s surface and edges.
SIZE The real dimensions of form, its length, width and depth; while these
dimension determines the proportions of a form, its scale is determined by its
size relative to other forms in its context.
COLOR The hue, intensity and total value of the form's surface; color is the
attribute that most clearly distinguishes a form from its environment. It also
affects the visual weight of a form.
TEXTURE The surface characteristics of a form; texture affects both tactile and light-
reflective qualities of a form’s surfaces
POSITION A form’s location relative to its environment or visual field.
ORIENTATION A form’s position relative to the ground plane, the compass points or to
the person viewing the form
VISUAL INTERIA the degree of concentration and stability of a form; the visual inertia of a
form depends on its geometry as well as its orientation relative to the ground
plane and our line of sight.
Transformation of Forms
DIMENSIONAL a form can be transformed into one or more of its dimensions and still
TRANSFORMATION retain its family identity.
SUBTRACTIVE a form can be transformed by subtracting a portion of its volume.
TRANSFORMATION
ADDITIVE a form can be transformed by the addition of element to its volume.
TRANSFORMATION
Organization of Forms
CENTRALIZED ● consists of a number of secondary forms clustered about dominant,
FORMS central, or parent forms.

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LINEAR FORMS ● consist of forms arranged sequentially in a row.
○ A series of forms may be repetitive, or they may be dissimilar in
nature and organized by a separate and distinct element. It can be
segmented or curvilinear.
RADIAL FORMS ● are compositions of linear forms that extend out from a central form in
a radial manner.
○ It can grow into a network where several centers are linked by their
linear forms.
○ Its organization can be best seen and understood from an aerial view.
CLUSTERED ● consist of forms that are grouped together by proximity or the sharing
FORMS of a common visual trait.
○ A clustered organization groups its forms according to functional
requirements of size, shape or proximity.
○ It is flexible enough to incorporate forms of various shapes, sizes and
orientations into its structure.
GRID FORMS ● are modular forms whose relationships are regulated by three-
dimensional grids.
○ A grid may be defined as two or more intersecting sets of regularly
spaced points (where the grid lines intersect) and regularly shapes
fields.
○ It based on the geometry of the square
○ It is essentially neutral and non-directional.
Articulation of Forms
ARTICULATION ● Refers to the manner in which the surfaces of form come together to
define its shape and volume. A form and its surface planes can be
articulated by:
○ Differentiating adjacent surfaces with a change in material, color,
texture or pattern.
○ Developing the corner as a distinct linear element independent of the
surface.
○ Removing the corner to physically separate the adjacent planes
○ Lighting the form to create sharp distinctions of light and dark at its
corners.

THEORY OF ARCHITECTURE 1: DIMENSION - PROPORTION AND SCALE ANTHROPOMETRY

TERM DEFINITION
PROPORTION ● Proportion is largely a matter of relationships.
● It is evident by a comparison, which the eye makes between the size, shape
and tone of the various objects or parts of a composition.
● There are certain geometrical shapes with good proportions such as the circle,
triangle and square.
● The eye judges them quickly and classifies them with no difficulty.
● They are dominant shapes in a composition and for that reason should be
used for accents.
Types of Proportions
RELATIVE parts of the object as it is
PROPORTION
ABSOLUTE parts of the object or the whole to the various parts
PROPORTION

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CIRCLES ● In plan: a circular or square unit acts as a focal point on the center for
radiating lines.
● On an elevation: these same shapes will give emphasis to that particular
portion in which they are incorporated.
● The circle and the square have been found to possess certain properties,
which recommend them as a base upon which to begin the design.
SQUARES TO ● Often, a rectangle is mistaken for a square if the rectangle approaches a
RECTANGLES square’s dimension.
● An observer will have doubts about its real geometric shape.
● On the other hand, if it’s too long the observer would divide it into 2 equal
spaces. Thus the rectangle to the diagonal of a square based upon the short
sides – and this is called the Golden Mean.
■ The Golden Mean
■ Inclusive rectangle
■ Exclusive rectangle
TRIANGLES ● The equilateral triangle, or one with equal sides and angles, has long been
accepted as a form with good proportions.
● It tapers in a regular manner from the base to the apex, carrying the eye up
to this focal point of the composition.
CLASSIC ● In this regard, whenever we talk of proportion we often refer to the Classical
PROPORTION Orders.
● The Renaissance interpretation of Classical Architecture as developed by
Vignola and Palladio is based upon standardized proportions.
● The Greeks did not design in this manner, but it is possible for renaissance
architects, by studying a large number of Roman examples, to strike an
average, which would represent the outstanding characteristics of these
Classical elements.
BASIS OF ➔ Natural material proportion
PROPORTION ➔ Manufactured proportion
➔ Mode of construction
➔ Government Ordinances for function (acoustics)
➔ Traditional and Generally Accepted Mode
➔ Ken-Japanese Mat (3.15c 6.30)
➔ Human Proportions
➔ The Golden Section on the Human Form (M/m = 1.618 = Golden Ratio)
➔ Anthropometrics
➔ The Golden Mask
➔ Human proportions
➔ Le Modulor
EXAMPLES ● Doors should be big enough to make one walk through in comfort but not so
OF big as to require an almost impossible physical effort to close them.
PROPORTION ● Steps should be of such a size as to permit easy ascent and descent.
● Ceiling heights must be properly proportioned to the size and the function of
the room.
● Balustrade should be related to the human figure in such a way that safety is
secured.
SCALE ● Scale has reference to proportions, which are good for humans.
● It is one set of the most subtle of the elements of design and one of the most
difficult to obtain.

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 ● Scale deals with the relation of architectural motifs, such as doors, windows
or moldings, to each other and to the human figure.
● Architecture must be adapted to the human needs: design is a matter of the
adjustment of architectural elements to meet the needs of the human race,
and proper scale should be present when this adaptation is made.
Kinds of GENERIC – size of a building element relative to other forms in its context.
Scale HUMAN- size of a building element or space relative to the dimensions and
proportion of a human body
Types of INTIMATE NORMAL
Scale

MONUMENTAL SHOCKING

SCALAR SEQUENCE SIMPLE PROGRESSION

PREPARATION-SURPRISE CONSTRICTION RELIEF

TRANSITION

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 THEORY OF ARCHITECTURE 1: ELEMENTS OF CIRCULATION
TERM DEFINITION
CIRCULATION ● movement through space
● Can be conceived as the perceptual thread that links the exterior/interior
spaces of a structure
GATEWAYS & Traditionally been means of orienting us to the path beyond and welcoming
PORTALS entry
Circulation Elements
THE BUILDING The distant view FRONTAL
APPROACH OBLIQUE
SPIRAL
THE BUILDING From outside to inside FROM OUTSIDE TO INSIDE
ENTRANCE - Implied (change of level)
REAL
- pillars and gateway
ENTRANCE
- Flushed projected, recessed
- Emphasized, Circuitous
- Centered, placed off-center
- Articulated
CONFIGURATION The sequence of spaces LINEAR
OF THE PATH - Straight or curvilinear
(MAJOR AND - Segmented (intersected, have branches)
MINOR AXIS) - Looped
RADIAL
SPIRAL
- stairs, ramps
NETWORK
- random paths that connect
established points
COMPOSITE
- combination of the above
PATH-SPACE Edges, nodes and PASS BY SPACES
RELATIONSHIPS terminations of paths PASS THROUGH SPACES
TERMINATE IN A SPACE
FORM OF THE Corridors, halls, galleries, EXTERIOR
CIRCULATION stairways, and rooms - promenade, malls
SPACE INTERIOR
- Corridors, balconies, galleries, stairs, rooms
ENCLOSED
- open on one side, open on
both sides

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 THEORY OF ARCHITECTURE 1: BALANCE AND GRAVITATIONAL CURVE
TERM DEFINITION
BALANCE ➔ EQUALITY
➔ It is a composition

It is the foundation upon which arrangement, harmony and adjustment of

weights, tones, values, etc. are developed.

Proper balance satisfies the eye with reference to the relative importance of
the various parts of the design.
Types of Balance
SYMMETRICAL ● The easiest and simplest kind of balance is the purely symmetrical type
in which the elements are arranged in precisely the same manner on
either side of a central axis or line.
● Not only is the arrangement similar but each object is exactly like the
one occupying the corresponding position on the opposite side.
● In this kind of balance eye catches a glance the equality of attraction on
each side of the center of the composition.
● All elements are duplicated – shape for shape, size for size and tone for
tone. The left half of the composition is identical

Formal Balance – is a type of balance which approaches absolute symmetry

but which lacks some of the essentials of this kind of composition.
UNSYMMETRICAL ● A more subtle and elusive and is more difficult to attain.
(OCCULT ● It attempts to satisfy the eye without any effort to place equal masses at
BALANCE) similar distances from the center of the composition.
● It is the grouping, in an informal manner, of elements of varying sizes
and shapes.
● One senses, rather than sees, a state of equilibrium
● In an informal arrangement the longer and heavier masses should be
nearer the center of the group, while the lighter, lower and more horizontal
elements may constitute the long arm of the steelyard.
● Vertical units may be introduced near the center of interest, or the
fulcrum, in order to create the desired accents.

THEORY OF ARCHITECTURE 2: ARCHITECTURAL DESIGN PROCESS

TERM DEFINITION
ARCHITECTURAL organized to ensure that objectives are reached in order of priority; the
DESIGN PROCESS highest priorities are addressed and the largest design solutions are arrived
at first, then the details fall in place in concert with the larger issues and
ideas.
CLASSIC STEPS TO 1. Pre-Design Phase (PD)
THE PROCESS 2. Schematic Design Phase (SD)
3. Design Development Phase (DD)
4. Construction Documents Phase (CD)
5. Bidding & Negotiation Phase (BN)
6. Construction Observation/Contract Administration Phase (CA)
7. Supplemental Services (SS)

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PRE-DESIGN ● The Architectural Design Process begin when a client identifies a need
PHASE to accommodate new or expanded activities
● The client will interview a number of architectural firms in order to
determine which one will have the combination of experience, skill and
resources that will make them the best choice to design the building
● The architect works closely with the client in order to clearly
understand their user needs.
● The architect then produces a Design Program.
○ This is a written document that spells out the characteristics that
the new building must have in order to satisfy the identified needs.
● The Design Program is a design brief for the building
○ It begins with a Problem Statement; make a clear and
sharply-defined statement of actual problem
GOAL High-level statements that provide the overall context for what the project is
trying to accomplish.
OBJECTIVE ● Concrete statements describing what the project is trying to achieve.
● The design concept (the thought, the idea, model, theory, impression,
perception, philosophy etc.) that went into the evolution of the project;
● The design objectives are statements containing specific aims in how a
project shall be designed or planned. Most often, the DO relates to the PO
(project objectives).
○ If the PO is intangible, the DO is the tangible method of designing the
project.
DESIGN refer to the factors that may influence the achievement of a design
CONSIDERATION objective/s (e.g. lush vegetation, traffic, social mores, population density,
orientation, building character, beliefs, etc.)
DESIGN CRITERIA includes design principles necessary to create a functional and dynamic
structures; standards, norms and conditions the proponent should meet in
designing his/her project
DESIGN These are detailed and specific properties that the building must have in
REQUIREMENTS order to be successful.
Detailed and specific properties that the building must have in order to be successful
SPACE LIST the functional areas that are to be provided.
SIZES AND the floor area and critical lengths and heights of the spaces.
DIMENSION
PROXIMITY AND how close the spaces must be to each other and the type of access between
RELATIONSHIPS them.
FIXTURES AND detailed built-in features and equipment required to support the functions
FITTING of the spaces.
SPECIAL anything unusual that must be provided in order for the spaces to function
REQUIREMENTS properly.
CONSIDERED IN MOST SITES
LOCATION The site should be related to major streets or landmarks previously existing.
There should be documentation of distances and time from major places

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NEIGHBORHOOD ● Zoning of the neighborhood is important and information of this type
CONTEXT can typically be found at the municipal or city planning office.
● Features include: architectural patterns, street lighting, condition of
existing buildings & the immediate surroundings of the site.
● The following elements should also be analyzed:
○ Reaction of the surrounding buildings towards the site and people
moving around
○ Existing paths (pedestrian, cyclist, and vehicle)
○ Landmarks: are distinctive sites that provide way-finding for people
in the area, and which define the character of a neighborhood
○ Nodes: are key public gathering places that encourage people to
linger and socialize.
SIZE AND ZONING Site boundaries can be located by either verifying the dimensions physically
or contacting the municipal or city tax assessor’s office.
○ zoning classifications
○ Set-backs
○ height restrictions
○ allowable site coverage
○ Uses
○ Parking requirements are obtained by obtaining zoning
classifications from a zoning map, which can be located from the
city planning department.
INFRASTRUCTURE,
SOCIAL, AND
POLITICAL
BOUNDARIES

LEGAL Information can be obtained from the deed to the property. The deed is
information such as the property description, present ownership, and the
governmental jurisdiction the site is located in, and the city or county.
NATURAL Information will be derived from the topographic features on the site. A
PHYSICAL contour map of this magnitude can be located from the survey engineer.
FEATURES Drainage problems as well as existing natural features of trees, ground cover,
ground texture, and soil conditions on the site should be directly observed.
MANMADE ● Features located on the site such as buildings, walls, fences, patios,
FEATURES plazas, bus stop shelters should be noted. The site and location of such
features should be directly measured
● Documentation of existing historical districts should be made, some of
which may already have reports completed. This information can be
taken to the municipal or city planning office for the site.
CIRCULATION The uses of streets, roads, alleys, sidewalks, and plazas are important in
this inventory step. It is not necessarily an analysis of these elements but
more an analysis of what occurs on these circulation gateways
UTILITIES Information for utilities concerning the site can be found through the
utility departments and companies in the local area. They have a print of
the drawing of the information needed including the location of all utilities
and their locations around or on the site itself.

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 Working with the client, the architect will also...
● Identify the budget (maximum cost) for the project, divided into
individual cost elements, such as site services, parking and roadways,
landscaping, foundations, structure, building envelope, etc)
● Determine the project schedule, including critical dates and lengths of
time required for various parts of the design and construction work.
SCHEMATIC With the Program complete, and there to guide the design activities, the
PHASE architect will next generate ideas.
● Schematic Design: a search for an essential organizing principle
● An idea that will suggest the overall arrangement and form for
individuals and groups of spaces that makes up the building.
● During Schematic Design, a number of alternative design ideas are
generated, and brought to the same level of resolution
● This process involves switching back-and- forth between
two-dimensional Schematic Plans and three-dimensional Massing
Models checking that the requirements of the design Program are
generally being satisfied.
● The alternative Schematic Designs are presented to the client who
comments on, selects and approves the 'best' design alternative for
further elaboration in the Design Development stage of the process.
SERIES OF STEPS ● The creation of 'Bubble Diagrams‘ illustrating the approximate size and
TO THE relative position of spaces, both the horizontally and vertically;
SCHEMATIC ● 'Fleshing out' the Bubble Diagrams into two-dimensional rough
DESIGN PHASE Schematic Plan layouts and three-dimensional Massing Models, by
incorporating specified floor areas and critical dimensions (lengths and
heights) of Spaces
● Studying the Massing Models on the site considering:
○ the location of the building relative to property lines (setbacks),
topography and other physical features
○ the orientation of the building to sun, winds, other buildings and
surroundings
○ access to/from the building and site
● Making adjustments to the Schematic Plans and Massing Models to
closely integrate the building and site
○ The building is shaped to fit the site and/or the site is altered to
accommodate the building.
DESIGN ● The architect revises the approved design in response to the client’s
DEVELOPMENT comments and needs
PHASE ● The Schematic Design is developed to a greater level of detail.
● The architect coordinates the work of other design professionals who are
responsible for different aspects of the building.
● Engineers who design the structural, mechanical and electrical services
inside the Building.
● Civil engineers and landscape architects who design the grading,
drainage, planting and site features outside the building
● During Design Development decisions are made about the materials
and methods of construction to be used especially with respect to the
building envelope in order to ‘realize’ the design concept that was
established by the Schematic Design.

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 ● During Design Development the space plan is worked out in detail to
ensure that the layout of the Interior and circulation spaces, will allow
the building to function the way it is intended to and building service
systems are designed that will support the function of individual spaces.
● During Design Development a cost estimate is prepared to ensure that
the design is within the established budget.
● Also, the project schedule is reviewed to make sure that it can still be
achieved
● The developed design is presented to the client for review and approval.
CONTRACT ● The Contract Documents stage is when working drawings and
DOCUMENT PHASE specifications are produced.
● These documents use a combination of graphics (drawings) and
written information (notes, schedules and specifications) to describe
the building thoroughly and precisely enough that it will be possible to
construct it.
● In order to describe the building thoroughly and precisely enough that it
will be possible to construct it, the architect and consultants must carry
out an enormous amount of Detail Design.
● Detail Design is the design of the many construction details of the
building, such as the way that the materials and components of the
building envelope are joined together to create a continuous air and
vapor barrier
● The Contract Documents will be used by potential constructors to
prepare quotations - to tender competing bids - setting out the price
they would charge to construct the building.
● Once a constructor has been selected, the documents will form part of a
legal agreement – a contract – between the constructor and the
client/owner.
● Portions of the documents will be used by each of the many sub-trades
that carry out specific parts of the work (concrete forming and pouring,
structural steel erection, carpentry, plumbing, electrical work, etc).
● The constructor will use the contract documents to coordinate and
schedule the work of the sub-trades so that everything is done safely and
on-time.
DETAILED DESIGN ● The arrangement, size and shape of stairs, ramps, elevators and other
parts of the building’s circulation system.
● The fabrication of doors and screens and the assembly of the partitions
that create the interior space plan of the building.
● Detail Design also includes the design of the many fixtures and fittings –
built-in components of the building - such as cabinets and counters.
● The selection of interior finishes, such as floor coverings, ceilings, paint
and coatings.
● For this work the architect may engage the services of another design
professional - an interior designer.

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 THEORY OF ARCHITECTURE 2: CONCEPTUALIZATION TECHNIQUES IN ARCHITECTURAL DESIGN
TERM DEFINITION
GOALS What does the client want to achieve, and Why?
FACTS What do we know? What is given?
CONCEPTS How does the client want to achieve the goals?
NEEDS How much money and space? What level of quality?
PROBLEM What are the significant conditions affecting the design of the building?
What are the general directions the design should take?
PROGRAMMATIC refer to abstract ideas intended mainly as functional solutions to client’s
CONCEPTS performance problems without regard to the physical response.
DESIGN CONCEPTS refer to concrete ideas intended as physical solutions to client’s
architectural problems
There are many programmatic concepts that seem to crop up on nearly every project, regardless of the
building types - housing, hospitals, schools, shopping centers, or factories. Here are some.....
PRIORITY The concept of priority evokes questions regarding the ORDER OF
IMPORTANCE, such as relative position, size, and social value. This concept
reflects how to accomplish a goal based on a ranking of values.
HIERARCHY Related to a goal about the exercise of authority and is expressed in symbols
of authority.
CHARACTER Based on a goal concerning the image the client wants to project in terms of
values and generic nature of the project.
DENSITY A goal for efficient land or space use, a goal for high degrees of interaction, or
a goal to respond to harsh climatic conditions may lead to the appropriate
degree of density – low, medium, or high density.
GROUPING SERVICE GROUPING
Should services be CENTRALIZED or DECENTRALIZED? Should the HEATING
system be CENTRALIZED or DECENTRALIZED? The library? And the Dining? And
storage? And many other services.
PEOPLE GROUPING
Concepts derived from the physical, social, and emotional characteristics of
people – as individuals, in small groups, and in large groups. Look to the
functional organization and not to the organizational chart, which merely
indicates pecking order.
HOME BASE ● Related to the idea of territoriality – an easily defined place where a
person can maintain his individuality.
● This concept applies to a wide range of functional settings – for
example, a high school, or manufacturing plant, many organizations
have recommended new settings for office work. These “officing”
concepts are described in the following as “ON-PREMISE or OFF-PREMISE
work settings
ADDRESS This concept refers to Workspaces.
FIXED ADDRESS ● This concept refers to a traditional
work setting where one person is
assigned to a workplace.
● The concept of shared address is
similar, for example, a single
office assigned to two or more
people – double occupancy.

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FREE ADDRESS ● This concept refers to a
designated group or team space
assigned for a specific period of
time.
● Within the team area, individuals
are assigned workspace on
as-needed (free address) or
first-come, first-serve basis.
GROUP ADDRESS This concept refers to a designated group or team space assigned for a
specified period of time.
RELATIONSHIPS ● The correct interrelation of spaces promotes efficiency and effectiveness
of people and their activities.
● This concept of functional affinities is the most common programmatic
concept.
COMMUNICATIONS A goal to promote the effective exchange of information or ideas in an
organization may call for networks or patterns of communications.
NEIGHBORS Is there a goal for sociability? Will the project be completely independent or is
there a mutual desire to be interdependent to cooperate with neighbors?
SPACIAL FLOW SEPARATED FLOW
A goal for segregation may relate to people (such as pedestrian traffic, and
automobile traffic.
MIXED FLOW
● Common social spaces, such as town squares, or building lobbies are
designed for multi-directional, multi-purpose traffic – or mixed flow.
● His concept may be in this regard if the goal is to promote chance and
planned encounters.
SEQUENTIAL FLOW
● The progression of people (as in a museum) and things (as in a factory)
must be carefully planned.
● A flow-chart diagram will communicate this concept of sequential flow
much easier than words will.
ACCESSIBILITY ● Can first-time visitors find where to enter the project?
● The concept of accessibility also applies to provisions for the
handicapped beyond signs and symbols.
● Do we need single or multiple entrances?
ORIENTATION ● Provide a bearing - a point of reference within a building, campus, or a
city.
● Relating periodically to a space, thing or structure can prevent a feeling
of being lost.
FLEXIBILITY ● The concept of flexibility is quite often misunderstood.
● To some, it means that the building can accommodate growth through
expansion.
● To others, it means that the building provides the most for the money
through multi-function spaces.
● Actually, flexibility covers all three - expansibility (exterior changes),
convertibility (interior changes), and versatility (multifunction).
TOLERANCE ● This concept may well add space to the program.
● Is a particular space tailored precisely for a static activity or is it
provided with a loose fit for a dynamic activity- one likely to change.

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SAFETY ● Which major ideas will implement the goal for life safety?
● Look to codes and safety precautions for form-giving ideas
SECURITY ● The degree of security control varies depending upon the value of the
CONTROLS potential loss- minimum, medium, or maximum.
● These controls are used to protect property and to guide personnel
movement.
ENERGY There are two general ways to lead energy-efficient buildings:
CONSERVATION ➔ Keep heated area to a minimum by making use of conditioned, but
non-heated, outside space, such as exterior corridors; and
➔ Keep heat flow to a minimum with insulation, correct orientation to sun
and wind, compactness, sun controls, wind controls, and reflective
surfaces.
ENVIRONMENTAL ● What controls for air temperature, light and sound will be required to
CONTROLS provide for people's comfort inside and outside the building?
● Look to the climate and sun angle analysis for answers.
PHASING ● Will phasing of construction be required to complete the project on a
time-and- cost schedule if the project proved infeasible in the initial
analysis?
● Will the urgency for the occupancy date determine the need for concurrent
scheduling or allow for linear scheduling?
COST CONTROL This concept is intended as a search for economy ideas that will lead to a
realistic preview of costs and a balanced budget to meet the extent of
available funds

THEORY OF ARCHITECTURE 2: FUNCTIONAL ZONING

TERM DEFINITION
APPROACHES IN Techniques, models, paradigms, idioms and processes for designing:
DESIGN ➔ Serve as a vehicles/catalysts for improving the effectiveness of a designer
PROCESS ➔ They broaden and deepen the designer’s understanding of design activities
➔ Use to organize and present information for designing
➔ To provide successful architectural solutions
CONCEPTS Have been the designer’s way of responding to the design situation
presented in the program
➔ They are derived from problem analysis or initially prompted by it.
➔ They are rudimentary in character
➔ They both require and must embrace
➔ further development

Although design projects may begin with a single overall direction, any
building design comes is in fact composed of many concepts.
➔ Concepts may be product or process oriented and can take place in any
stage in the design process
➔ Can occur in any scale
➔ Can be generated from several sources
➔ Have a hierarchical nature

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FUNCTIONAL NEED FOR ADJACENCY SIMILARITY IN GENERAL ROLE
ZONING

SEQUENCE IN TIME REQUIRED ENVIRONMENT

TYPES OF EFFECTS PRODUCED RELATEDNESS TO CORE ACTIVITIES

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 DEGREE OF EMERGENCY OR CRITICAL FREQUENCY OF ACTIVITY
SITUATIONS OCCURRENCE

DURATION OF ACTIVITIES ANTICIPATED GROWTH AND

CHANGE

THEORY OF ARCHITECTURE 2: ARCHITECTURAL SPACE

TERM DEFINITION
SPACE ● Expressive or artistic/aesthetic space - created space to express man’s
structure of his world.
○ Expressive space done by builders, planners, architects, designers
○ Aesthetic space studied by architectural theorist and philosophers
ARCHITECTURAL concretization of man’s existential space
SPACE
EUCLIDEAN Three Dimensional geometry
SPACE BUILDING SYSTEM

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 UTOPIAN CITY PLANNING DIVISION CITY PLANNING

SPACE FRAMES

SPACE IN ARCHITECTURAL THEORY: Theory on the Psychology and Perception of Space

PHYSICAL SPACE Fruin’s body ellipse (.29 sqm); Anthropometrics to Ergonometrics
no touch zone ( .65 sqm);
comfort zone (1.067 sqm)

SENSORY ➔ Olfactory (nose)

PERCEPTION ➔ Temperature (skin/feeling)
➔ Acoustics (ears)
➔ Lighting (eyes/visual)
SPACE TO SPACE RELATIONSHIPS
SPACE WITHIN A ● A set of a larger space and a
SPACE secondary space
● A space/form as a free standing
object with separate functions

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INTERLOCKING ● The interlocking portion can merge
SPACE with one of the spaces and become
an integral part of its volume
● The interlocking portion can develop
its own integrity that serves to link
the two original spaces

ADJACENT Schemes in separating planes

SPACE ● Limit visual access between two
spaces and accommodate their
differences
● Appear as a free standing plane in a
single volume
● Be defined as a row of columns but
allows high degree of visual and
spatial continuity between two
spaces
● Be merely implied with a change in
level or surface articulation between
two spaces
SPACE LINKED Ways of linking common space
BY A COMMON ● Intermediate space can differ in
SPACE form and orientation to express its
linking function
● The intermediate space can be
equivalent in shape and size and
forming a linear sequence of spaces
● The intermediate space as a linear
form linking distant spaces
● The intermediate can be a large
dominating space organizing a
number of spaces about itself
● The form of the intermediate space
is determined by the forms and
orientation of the spaces being
linked or related
ARCHITECTURAL FORMING SPACE SPATIAL QUALITIES
SPACE
CONCEPTS

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 SCALE TYPES SCALAR FLEXIBILITY

TAILORED SPACE DIVISION OF SPACE

INSIDE-OUTSIDE SPACE ANONYMOUS SPACE

FLOOR PATTERNS DOOR PLACEMENT CIRCULATION

AND USE ZONES

CIRCULATION AS A SPACE MULTI USE OF SPACE

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 DEALING WITH RESIDUAL SPACE NATURAL LIGHTING

ARTIFICIAL LIGHTING

THEORY OF ARCHITECTURE 2: CIRCULATION ANG BUILDING FORM

Term Definition
CIRCULATION - movement through space
- Can be conceived as the perceptual thread that links the exterior/interior
spaces of a structure
CIRCULATION ELEMENTS
BUILDING ➔ Frontal
APPROACH ➔ Oblique
➔ Spiral
THE BUILDING FROM OUTSIDE TO INSIDE ➔ Implied (change of level)
ENTRANCE ➔ Real (pillars, gateway)
ENTRANCE ➔ Flush, Projected, Recessed
➔ Emphasized, Circuitous
➔ Centered, placed off-center
➔ articulated

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CONFIGURATIONS LINEAR GRID
OF THE PATH straight or curvilinear, segmented
(MAJOR AND (intersected, have branches), looped
MINOR AXIS)

RADIAL SPIRAL (Stairs and Ramps)

NETWORK (Random paths that connect

established points)

COMPOSITE (combination of the above)

PATH-SPACE PASS BY SPACES PATH THROUGH SPACES

RELATIONSHIPS

TERMINATE IN A SPACE

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FORM OF THE EXTERIOR ENCLOSED
CIRCULATION (promenade, malls) (open on one side, open on both
SPACE sides)

INTERIOR: ONE SIDE OPEN

(Corridors, balconies, galleries, stairs,
rooms)

CIRCULATION AND LINE GENERATED CIRCULATION LINE GENERATED CIRCULATION:

BUILDING FORMS CONFIGURATIONS

POINT GENERATED CIRCULATION CIRCULATION WITHIN CIRCULATION

SPACE-CIRCULATION RELATIONSHIPS SPACE CIRCULATION SECTIONS

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 PLACING UNIQUE SPACE SHAPES IN ENTRY POINTS FOR CIRCULATION
PLAN

PLACING VERTICAL CIRCULATION AT MOVEMENT SYSTEMS

UNIQUE POINTS IN THE PLAN

ROUTING SYSTEM THROUGH BUILDINGS

BUILDING FORMS BASIC FORMS GROUPING FORMS BY QUALITIES

SPECIFIC FORM TO FORM ACHIEVING VISUAL INTEREST

RELATIONSHIPS

BUILDING IMAGE IN PLAN BUILDING IMAGE IN ELEVATION

SEMANTICS the study of meanings

ARCHITECTURAL Architectural meanings
SEMANTICS

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SIGNALS AND SIGNS
SIGNS ● Indexial sign - a relation between a signifier and the signified (arrows
indicate direction)
● Iconic signs – a sign which refer to an object denoted by a
characteristics
● Symbolic signs - arbitrary relation between the signifier and the
signified (associated)
SYMBOLS
● Basic strategy of perception based on learning and heredity
● An object or phenomenon which has meaning, it evokes emotional
reaction
● Used for: Architectural, plumbing, electrical
EXPRESSIONS
● Architectural expression
● Visual expression of function

THEORY OF ARCHITECTURE 2: RESPONSE TO CONTEXT

Term VISUALIZATION
PROPERTY
BOUNDARIES

LAND CONTOURS

SURFACE
DRAINAGE

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SOIL CONDITION

ROCKS AND
BOULDERS

TREES

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WATER

EXISTING
BUILDINGS

EXPANSION OF
EXISTING
BUILDINGS

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EASEMENTS

NOISE

VIEWS FROM THE

SITE

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OFF-SITE
VEHICULAR
TRAFFIC

EXISTING
ON-SITE
VEHICULAR
TRAFFIC

EXISTING
ON-SITE
PEDESTRIAN
TRAFFIC

UTILITIES

BUILDING
PARKING SERVICE
RELATIONSHIPS

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VEHICULAR-
PEDESTRIAN
TRAFFIC
SYSTEMS

PARKING
SYSTEMS

CAR STORAGE

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APPROACHING
BUILDING

ARTIFICIAL
MODES

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ENTRY TO
BUILDING

TOTAL SITE
ZONING

TOTAL SITE
SYSTEM

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LAND FORMS

SEATING FORMS

LANDSCAPING
WITH PLANTS

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LANDSCAPING
WITH WATER

CONTRIBUTION
TO
NEIGHBORHOOD

SUNLIGHT

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TEMPERATURE
AND HUMIDITY

RAINFALL

WIND

THEORY OF ARCHITECTURE 2: BUILDING ENVELOPE

TERM VISUALIZATION
Fundamentals in Building Envelope
FOOTING AND
FOUNDATION

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COLUMNS

BEAM
CONNECTION TO
COLUMN

COLUMN TO
WALL
RELATIONSHIP
COLUMN TO
ROOF
RELATIONSHIP

COLUMN TO
FLOOR
RELATIONSHIP
WALLS

WALL
TRANSITIONS
TO BASE
BEAM
CONNECTION TO
WALLS

WALL TO WALL
RELATIONSHIPS

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ADDITIONAL
COLUMN AND
WALL ROLES

BEAMS

ROOF FORMS

ADDITIONAL
BEAM ROLES

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WALL
CONCEPTS

FLOOR TO
CEILING
CONCEPTS

BALCONIES

CANALES AND
WATER BINS

FIRE PLACE

STEPS

STAIRS

STAIR
PLACEMENT IN
RELATION TO
BUILDING
ADDITIONAL
STAIR ROLE

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SHAFTS

SKYLIGHT
ROLES

DOORS

WINDOW
FORMS

WINDOW PLAN
SECTION

ADDITIONAL
WINDOW ROLES

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 THEORY OF ARCHITECTURE 2: ARCHITECTURE ISMS
Term Definition
-ISM suffix Can be expressed in the following concepts:
➔ doctrine or philosophy (e.g. pacifism, olympism)
➔ theory developed by an individual (e.g. Marxism)
➔ political movement (e.g. feminism)
➔ artistic movement (e.g. cubism)
➔ action, processor practice (e.g. voyeurism)
➔ characteristic, quality or origin (e.g. heroism)
➔ state or condition (e.g. pauperism)
➔ excess or disease (e.g. botulism)
➔ prejudice or bias (e.g. racism)
➔ characteristic speech patterns (e.g. Yogiism, Bushism)
➔ religion or belief system (e.g. Mormonism)

● Many isms are defined as an act or practice by some, while also

being defined as the doctrine or philosophy behind the act or
practice by others.
○ Examples include activism, altruism, despotism, elitism, optimism,
sexism and terrorism.
ISMS ● The chief characteristics of 20th century architecture are its
plurality.
● Some critics have erroneously suggested that there has been a single
evolutionary Modern Movement in architecture as such.
● Indeed there have been many modern movements.
● The main revolution in architecture began with the new master
problems that emerged as long as the 1780s when a vast amount of
monumental symbolistic building began & when new problems of a
specifically public architectural character were met by the architects of
the period.
● It was not until the 1880s that a desire for a truly modern style
emerged & even then it was by no means articulate, although in some
ways it prefaced the whole of the work of the early 10th century.
● By the turn of the century, architects sensible to the changes that were
going on in society, science, technology & psychology, were struggling
with the problem of identification, of architectural ideals & the
increasingly important notion of providing architecture appropriate to
its time.
● The Art Nouveau did not successfully produce the necessary transition
from the stylistic Revivalism of the 19th century into the new world of
the 20th century.
● It did, however, provide a bridge – via Expressionism – between the
individualism of the Art Nouveau designers & the collective work of the
architects who were associated with the International Modernism
movement of the late 1920s.

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RENAISSANCE ➔ Inventionism
➔ Humanism
➔ Idealism
➔ Mannerism
➔ Pietism
➔ Regional Classicism
➔ Absolutism
➔ Anglican Empiricism
➔ Rococo
➔ Palladianism
➔ Georgian Urbanism
EARLY MODERN ➔ Neoclassicism
➔ Exoticism
➔ Sublimism
➔ Structural Rationalism
➔ Materialism
➔ Medievalism
➔ Victorianism
➔ Monumental Urbanism
➔ Anti-Urbanism
➔ Decorative Industrialism
➔ Imperialism
MODERNISM ➔ Eclecticism
➔ Constructivism
➔ Monumentalism
➔ Usonianism
➔ National Romanticism
➔ Purism
➔ Fin De Sieclism
➔ Rationalism
➔ Radicalism
➔ Functionalism
➔ Futurism
➔ Skyscraperism
➔ Neoplasticism
➔ Totalitarianism
➔ Bauhaus
➔ Corporatism
➔ International Modernism
➔ Utilitarianism
➔ Organicism
➔ Brutalism
➔ Expressionism

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BEYOND ➔ Structuralism
MODERNISM ➔ Regionalism
➔ Metabolism
➔ Post-Metabolism
➔ Postmodernism
➔ Technoism
➔ Neo-Rationalism
➔ Deconstructivism
➔ Ecoism
➔ Metarationalism
MANNERISM Refers to the manipulation of styles
or forms achieved by the learned
Giulio Romano juxtaposition of elements for the
exclusive aim of achieving originality
or effect
● "Te Palace" by Giulio Romano -
MANTOVA – ITALY.
○ The upper part of the arch is
not at the same level of the
other parts. It's the symbol of Te Palace Giulio Romano
mannerism, an artistical
current that wanted to leave
the perfection expressed in the
classicism.
ECLECTICISM It is usually applied to any building
that incorporates a mixture of the
Andrei historical styles.
Stackenschneider
● The Palace of Beloselskiye-
Belozerskiye
○ Constructed for the princes
Beloselskiye-Belozerskiye.
○ Since 1884 it belonged to the
grand prince Sergei
Alexandrovich. The Palace of Beloselsky-Belozersky
STRUCTURALISM Iron construction that was initiated
by Joseph Paxton’s Crystal Palace
Joseph Paxton that brought about a trend in
architecture. Numerous exhibition
halls, locomotive sheds & other
large-scale “engineering” types of Crystal Palace by Sir Joseph Paxton
structure followed built for the Great Exhibition of
1851-1854 in London

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MONUMENTALISM This was based on a general notion
that (from Adolf Loos) “the form of
Raymond Hood an object should last” & that
John Mead Howells implicitly there are some forms
which have eternal validity.
● Chicago Tribune Tower designed
by Raymond Hood and John
Mead Howells. Construction of
the building was completed in
1925. Chicago Tribune Tower
Notable German ➔ Karl Friedrich Schinkel
pioneers of modern ➔ Peter Behrens (Turbine Shop, AEG
architecture: Factory, Berlin)
➔ Mies van der Rohe
➔ Le Corbusier
➔ Tony Garnier
➔ Auguste Perret AEG Factory, Berlin
Other European ➔ Glasgow: Charles Rennie
countries Mackintosh
➔ Finland :Eliel Saarinen, Lara
Sonck, Gallen-Kallela
➔ Britain: Richard Norman Shaw,
Charles Voysey
➔ Spain: Antoni Gaudi
➔ Germany: Paul Bonatz, Albert
Art Nouveau buildings in Riga, Latvia
Speer
RADICALISM Marked a radical shift in emphasis
from the buildings of the past to the
Henry van de Velde design of those which met the
Walter Gropius demands of modern life like those of
Henry van de Velde and Walter
Gropius

Fagus Factory, Werkbund by Gropius.

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CONSTRUCTIVISM It was a passionate pleading for ideas on form & space in architecture
as well as in the other arts
Vladimir Tatlin
Kasimir Malevitch ● Constructivism was a movement that was active from 1915 to the
Mart Stam 1940’s. It was a movement created by the Russian avant-garde, but
Naum Gabo quickly spread to the rest of the continent.
El Lissitzky ● Constructivist art is committed to complete abstraction with a
James Stirling devotion to modernity, where themes are often geometric,
Antoine Pevsner experimental and rarely emotional. Objective forms carrying
Marcel Breuer universal meaning were far more suitable to the movement than
subjective or individualistic forms

➔ Vladimir Tatlin
➔ Kasimir Malevitch
➔ Mart Stam
➔ Naum Gabo
➔ El Lissitzky
➔ James Stirling
➔ Antoine Pevsner
➔ Marcel Breuer

Lenin Institute, Moscow by Alexander

Vesnin, 1923.

Monument to the Third International

(1920)
In 1919 and 1920, Vladimir Tatlin produced sketches and a model for what
was projected to be a Monument to the Third International. This utopian
design, so typical for the frenzied mood of Russians in the years
immediately following the Bolshevik revolution was, in theory, to have
been taller than that great symbol of modernity, the Eiffel Tower

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EXPRESSIONISM This term is used to describe the
work of those architects who
Erich Mendelsohn prefigured the International &
Functionalist Period of the Modern
Movement.

Einstein Tower, Potsdam by Erich

Mendelsohn
FUTURISM The Futurist Architecture Manifesto
proclaimed that Futurist Architecture
“is the architecture of calculation,
of audacity & simplicity; the
architecture of reinforced concrete,
of iron, of glass……..& all those
substitutes for wood, stone & brick
which make possible maximum
elasticity & lightness.”

NEOPLASTICISM This term relates to the theory of

pure plastic art which had a
Gerrit Rietveld pronounced influence on Dutch
architects. It consisted in the
exclusive use of the right angle in a
horizontal position, & the use of
the 3 primary colors contrasted
with or incorporating in various
Schroeder House in Utrecht by Gerrit
canvases the 3 noncolors: white,
Rietveld
black & gray.
L’Ecole de Beaux Art ● The style turned to Gothic
(Paris) revival due to its brevity,
idealism, heroism, and
Robert Adam picturesque-ness.
Stephen Sauvestre ● Verticality was the trend.
Emile Nouguier ● Example: Eiffel Tower
Maurice Koechlin

A commercial building by Robert Adam

along Piccadily, London

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DE STIJL ● Founded by Van Doesburg, a
painter. Jacobus J. P. Oud, one of
Van Doesburg the principal aims of the
Jacobus J. P. Oud movement is to “construct
without any illusion, without
any decoration”.
● It broke away from naturalism
and historicism and by
appealing to abstraction as the
means of expressing a universal
synthesis of modern times. Rietveld-Schröderhuis (outside
● Compared to Gropius, Doesburg Utrecht) is the only house in the
was a radicalist. world that conforms in all aspects
of its construction to the 1920s
artistic movement known as De
Stijl (The Style), even to the finest
detail. Built by Gerrit Rietveld, it has
been named a UNESCO World
Heritage site for the embodiment of
one of the most influential
architectural movements of the
20th century, and one of the
Netherlands most lasting
contributions to world culture.
BAUHAUS This is a school of art & design
founded in 1919 by Walter Gropius.
Walter Gropius Its second head was Hannes Meyer
Hannes Meyer (1927) followed later by Mies van der
Mies van der Rohe Rohe.

The Bauhaus (literally building house)

was the nerve center of artistic
experiment during the 1920s & it
became internationally known
through its publications &
exhibitions & also through the Bauhaus Building in Dessau by Walter
work of its architect heads who Gropius
were in the front line of the
European avant garde. The influence
of the Bauhaus design methods can
be seen in numerous consumer
products from bent metal furniture &
hanging globe lamps to the black,
block, lowercase lettering to be found
on exhibition posters the world over.

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CIAM & (Congres Internationaux
INTERNATIONAL d’Architecture Moderne). This
MODERNISM organization was set up by Le
Corbusier & Siegfried Giedion.
Le Corbusier
Siegfried Giedion

Villa Savoye, Poissy, Paris

THE INTERNATIONAL “Ready-made style” imported from the U. S.
STYLE

Robert Bridges

Palisades Concrete Pier House Park Avenue, New York

TEAM X Formed by a rebellious group of
young Turks who contested the
Joan Joseph Bakerna principles of modern architecture
(Holland) for the same reasons CIAM had
Aldo van Eyck attacked the past.
(Holland) ● Joan Joseph Bakerna (Holland)
Joe Esherick - unites personal freedom with
the total environment Shadrach
Wood (U.S.)- from cell house to
mass housing which results in
desolation.
The design of UC Berkeley's Wurster
● Aldo van Eyck (Holland) -
Hall uses sun shading, daylighting
architects left no cracks or
and environmentally sensitive
crevices; made a flat surface of
structural systems. Joe Esherick
everything
was on the team that designed the
building in 1966.

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ORGANICISM This is used as a description of architecture that sympathizes with its
environment which is shown in the early work of Frank Lloyd Wright &
Claude Bragdon (US) the Prairie School. It is the very antithesis of the geometrical organized
Henry Russell facadism of those architects who believe that architecture should intrude
Hitchcock (US) on the environment in the Classic, NeoClassic & Gothic sense.
Hugo Haring
(Germany) Followers of organicism:
Hans Scharoun ➔ Claude Bragdon (US)
(Germany) ➔ Henry Russell Hitchcock (US)
Bruce Goff (Britaqin) ➔ Hugo Haring (Germany)
Paolo Soleri (Italy) ➔ Hans Scharoun (Germany)
Herb Greene ➔ Bruce Goff (Britaqin)
Frank Lloyd Wright ➔ Paolo Soleri (Italy)
➔ Herb Greene

Kaufmann House by Frank Lloyd Wright House by Herb Greene

UTILITARIANISM ● It sought for economic solutions
for low value sites as well as
alternative cheap forms of
construction in timber, brick &
metal. Low cost housing was
referred to as utilitarian
architecture.
● In Britain, this was called PREFAB.
The idea was to fabricate these
units in factories & bring them
to the sites ready-built for
immediate assembly. The effect
of this eventually was to create an
atmosphere in which “system
building” could take over the role
of individually designed dwellings
THE NEW In 1954, the term “the New
BRUTALISM Brutalism” was first applied to a
group of young British architects’
Peter & Alison center around Peter & Alison
Smithson Smithson, & was marked by a
Le Corbusier fascination with raw expression of
materials, forms & functions. There
is a deliberate exposure of the La Tourette Monastery, Lyon, France by
structure, materials & services with Le Corbusier, 1953-1957
extraordinary clarity.

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METABOLISM This term was first applied to
architecture at the World Design
Kiyonori Kikutake Conference, Tokyo, 1960. This
Fumihiko Maki concern with the problems of cities
Masato Otaka such as Tokyo
Kisho Kurokawa
Kenzo Tange Among its advocates were:
➔ Kiyonori Kikutake
➔ Fumihiko Maki
➔ Masato Otaka
➔ Kisho Kurokawa Nakagin Capsule Tower, Tokyo, Japan by
➔ Kenzo Tange Kisho Kurokawa, 197
POST METABOLISM Its use implies an attempt to
summarize some of the very
divergent currents that
characterized the Japanese
architectural scene. Post
Metabolism interests in explaining
such things as the nature of the
house in the city and are concerned
with intricate design on small sites
& polemical (arguable) schemes
POSTMODERNISM This is an alternative to Modern Movement ideas like revivals of pattern
book principles of the 19th century, a new interest in vernacular forms
James Stirling adapted to modern needs, a much more strict interpretation of the
Robert Venturi theatrical element in Modern Movement architecture proper, a distinctly
confused revival of Wright’s organic views, and a return to the low-rise
high-density developments of the interwar period.

Staatsgalerie, Stuttgart, Germany by Vanna Venturi House, Chestnut Hill,

James Stirling, 1977-84 Philadelphia by Robert Venturi, 1964
ISOLATIONISM ● It is conceived independently
from its immediate or historical
context.
● It stands on its own.

Neighborhood houses in Dali reflect

traditional Chinese urban architecture

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CONTEXTUALISM Architecture should be
apprehended in its total setting. The
Francisco ‘Bobby’ knowledge of history, the world, or
Mañosa science makes the total experience
far richer.
● As a philosophic concept,
contextualism is adopted to
provide an effective way to
transcend the meanings that
are embedded in the context of
historical architectural The Pearl Farm by Arch. Mañosa
characteristics.
● As a design means,
contextualism is used as a
method to bring about
sympathetic creations that
blend into their surroundings
instead of destroying them
DECONSTRUCTIVISM It is the abstraction of Modernism
(NEW MODERNISM) to the extreme and mainly worked
on the principle of exaggeration of
Peter Eisenman familiar motifs. It is also known as
Frank Gehry the new modernism.
Richard Meier
Rem Koolhaas Forerunners:
➔ Peter Eisenman
➔ Frank Gehry Walt Disney Concert Hall
➔ Richard Meier
➔ Rem Koolhaas
TECHNOISM This describes how architects tried
to bridge the gap between fantasy
Buckminster Fuller images and the real possibilities
that new technology offered.

US Pavillion (Geodesic Dome), Expo 67,

Montreal, Canada by Buckminster
Fuller

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ECOISM It merges the interests of
sustainability, environmental
Ken Yeang consciousness, green, natural, and
Renzo Piano organic approaches to evolve a
Sir Norman Foster design solution from these
Toyo Ito requirements and from the
characteristics of the site, its
neighborhood context, and the local
micro-climate and topography.

'Respect' is the keyword in practicing

green / ecological architecture
because our current system of
building lacks respect for the natural
environment as well as for individual
people and society as a whole.

Personalities:
➔ Ken Yeang
➔ Renzo Piano Elephant & Castle Eco Towers by Ken
➔ Sir Norman Foster Yeang
➔ Toyo Ito
METARATIONALISM ● Metarationalism is what happens to architecture when the logic of
economist James Galgraith’s views that in the affluent society there
Daniel Libeskind is no meaningful distinction between luxury and necessity meets
Steven Holl that of complexity science with its ability to overturn conventional
Zaha Hadid structural logic.
● The result is a feast of consumerist experiences presented within
phenomenally complex forms

➔ Daniel Libeskind
➔ Steven Holl
➔ Zaha Hadid

Zaha Hadid’s Performing Arts Centre in Daniel Libeskind’s Gazprom building

Abu Dhabi

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 THEORY OF ARCHITECTURE 1 (FROM RECORDINGS)
TERM DEFINITION
POINT A location in space
LINE Connects two points in space; defines an enclosed space join, intersect,
connects, divides
PLANE Flat two-dimensional surface with no thickness (overhead, wall, base
planes) but has length and width
VOLUME Measurement of a three-dimensional shape enclosed by a closed surface
and has length, width, and depth
SCALE Refers to the size
PROPORTION Refers to the relationship of one element to another
GOLDEN MEAN The ratio of the smaller to the larger is the same as the proportion of the
GOLDEN RATIO larger to the whole
SACRED 0.618 : 1.000
PROPORTION Phi – 1.618
RENAISSANCE Based on the Pythagoras’ Theory of Means and Plato’s Harmonic
THEORY OF Proportions
PROPORTION
PYTHAGORAS’ Explains that consonance in Greek musical system can be expressed in
THEORY OF MEANS simple numeric progressions 1,2,3,4 and the ratios 1:2, 1:3, 2:3 3:4
PLATO’S Claims that the harmony of the universe was contained in seven numbers
HARMONIC derived from musical consonances and they are 1, 2, 3, 4, 8, 9, 27 and they
PROPORTIONS can be broken down in two sets (1, 2, 4, 8) and (1, 3, 9, 27)
MODULOR OF LE Based on the Golden Ratio and Fibonacci Series
CORBUSIER
KEN From a measurement for the construction of buildings, it evolved into an
aesthetic module that ordered the structure, materials, and space of
Japanese architecture.
SHAPE ➔ External boundary or outline
➔ Contour of the lines forming the edges of a plane
➔ Primary identifying characteristics of a plane
FORM Defines, articulates, merges, and connects space.
SHAPE characteristic outline or surface configuration of a form
SIZE physical dimension of length, width and depth of a form
COLOR a phenomenon of light and visual perception described by hue
TEXTURE visual and tactile quality of a surface
POSITION location of a form relative to its environment
ORIENTATION direction of a form relative to the ground, the compass points, the viewer,
or the other forms
VISUAL INERTIA the degree of stability of a form
PRIMARY SOLIDS ➔ Cone
➔ Pyramid
➔ Cube
REGULAR FORMS Parts are organized in a consistent and orderly manner
IRREGULAR FORMS Parts are not organized in a consistently regular way
UNITY Visual and even structural relationship of elements in the overall
architectural composition

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 ➔ Texture
➔ Color
➔ Tone
➔ Direction
➔ Proportion
➔ Solid and Void
➔ Form and Shape
BALANCE Equilibrium
SYMMETRICAL Balance relative to an axis
BALANCE ➔ Centralized
➔ Formal
➔ Radial
Types of Symmetry CENTRAL SYMMETRY FORMAL SYMMETRY

RADIAL SYMMETRY ASYMMETRICAL

GRAVITATIONAL ● Complete adaptation to surroundings

CURVE IN ● Emphasize picturesqueness instead of symmetry
ARCHITECTURE ● Results freely rely on natural surroundings
(Balance and Gravitational Curve by Alan Jasper Zamora)
PERCEPTION IN Ability to see, hear, or respond to stimuli through the senses
ARCHITECTURE - Visual perception
- Auditory perception
- Tactile perception
VISUAL ACUITY Clarity in visual perception is increased usually by increasing the degree of
illumination
PARTHENON: Horizontal lines built convex to correct sagging
Optical Illusions
OPTICAL ILLUSIONS Are created to elicit desired perceptions from people
CIRCULATION - Movement through space; perceptual thread that links the
exterior/interior space of a structure
- The way people move throughout a building and interact with the
spaces around them
- Refers also to the approach and exit from the building.

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Types of Building FRONTAL OBLIQUE
Approach

SPIRAL

Types of Building PROJECTED FLUSH

Entrances

RECESSED EMPHASIZED ENTRANCE

ARTICULATED BUILDING ENTRANCE

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Configuration of LINEAR
Paths

RADIAL

SPIRAL

GRID

NETWORK COMPOSITE
A combination of the above
mentioned paths in any ratio forms
a composite path.

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PASS BY SPACES - Path-space relationships
- The path is central and the
spaces are designed on either
side of it. (whereisthenorth.com)

PATH THROUGH - Path-space relationships

SPACES - The path physically passes
through and experiences each
space before heading to the next
one. (whereisthenorth.com)

TERMINATE IN - Path-space relationships

SPACE - The purpose of the path is to reach a particular space, where it ends.
(whereisthenorth.com)

EXTERIOR - Form of the circulation space

- Promenade, malls

INTERIOR - Form of the circulation space

- Corridors, balconies, galleries,
stairs, rooms

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ENCLOSED - Form of the circulation space
- The path has vertical planes such
as walls, doors or windows on
both sides of the path.
(whereisthenorth.com)

OPEN ON ONE SIDE Form of the circulation space

OPEN ON BOTH - Form of the circulation space

SIDES - The path is not blocked by any
vertical planar element on either
side.

LINE GENERATED - Generated Circulation Flows

CIRCULATION

POINT GENERATED - Generated Circulation Flows

CIRCULATION

CIRCULATION - Generated Circulation Flows

WITHIN
CIRCULATION

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MOVEMENT - Circulation Generates
SYSTEMS &
ROUTING SYSTEMS
THROUGH
BUILDINGS

BUILDING FORMS Building form can be achieved by:

1. Grouping if forms by qualities
2. Specific form to form
relationships
3. Placing Unique Spaces Shapes in
Plan
4. Space-circulation relationships
5. Space Circulation sections
SEMANTICS Study of meanings
ARCHITECTURAL - Architectural meanings
SEMANTICS - are manifested in many ways through building forms
INDEXICAL SIGN A relation between a signifier and the signified (arrows indicate direction)
ICONIC SIGN A sign which refers to an object denoted by characteristics.
SYMBOLIC SIGN Arbitrary relation between the signifier and the signified (associated)
SYMBOLS - Basic strategy of perception based on learning and heredity
- an object or phenomenon which has meaning, it evokes emotional
reaction
EXPRESSION - Architectural Expression
- Visual Expression of function

THEORY OF ARCHITECTURE 1: Architectural Space

TERM DEFINITION
SPACE ● Defined as the relative position of one three-dimensional entity to
another.
● It is the architect’s concretization of existential space.
EUCLIDIAN Is concerned with flat planes
ARCHITECTURE - conventional
NON-EUCLIDIAN Includes elliptical, hyperbolic and fractal geometry made possible by
ARCHITECTURE advance technologies and software
- non-conventional
KINETIC FAÇADE established by Ned Kahn, an American artist
BRISMANE DOMESTIC
TERMINAL CAR PARK
CONCEPT OF HUMAN Anthropometrics
SPACE Ergonomics
Body Ellipse
- Architecture always considers the concept of human space in order
to achieve the best design solution considerate of user
requirements, efficiency, and even of culture

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ANTHROPO-METRICS The comparative study of the measurements and capabilities of the
human body. It derives from the Greek words,
- Anthropos: Human
- Metron: measure
ERGONOMICS The process of designing or arranging workplaces, products, and
systems so that they fit the people who use them
- workplace, sports, leisure, health, safety
- Ergonomics for a computer table, kitchen design, and factory
assembly line.
CONCEPT OF BODY - An established area around people, a buffer zone between
ELLIPSE themselves and others.
- Americans: major axis of 24 inch (60.9 cm), and a minor axis of 18 in
(45.6 cm). The ellipse has an area of 23 square feet (0.21 sqm). This
represents the area occupied by a standing person.
PERCEPTION OF Is one of the objectives that a designer or architect can always have –
SPACE the intended perception on how users will ultimately perceive a designed
or built space.
THEORY OF A theory of non-verbal communication that states that humans
PROXEMICS establish the amount of space necessary to set between themselves
and others. It is a theory established by Edward Hall in his book The Silent
Edward Hall Language and further discussed also in this other book The Hidden
Dimension
0 to 18 inches INTIMATE
18 inches to 4 feet PERSONAL
4 to 10 feet SOCIAL
Over 10 feet PUBLIC
CROWDING Forced close distance with strangers
CONCEPT OF According to Proxemics, there are 4 kinds of territoriality:
TERRITORIALITY - Body, Primary, Secondary, Public
BODY TERRITORY The personal space or bubble around one person
PRIMARY TERRITORY One’s home, vehicle, or living space
SECONDARY A structured place where entry is reserved for particular individuals and
TERRITORY certain norms are expected, like a school, office, church
PUBLIC TERRITORY An open space where one can come and so, like a park or shopping mall
PROXEMICS The sense of human space and territoriality varies from culture to
culture
FILIPINO CORE
VALUES AND
CONCEPTS

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Example of how the
core values of LOOB,
KAPWA, and MUKHA
are translated in the
concept of a bahay.

Concepts of LOOB & Extension of intimate space to a more inclusive space defying the
KAPWA established social and public spaces, the lines or divisions between
concepts of space are blurred or removed.

THEORY OF ARCHITECTURE 2 (FROM RECORDING)

TERM DEFINITION
ECLECTICISM A mixture of style; selection and combination of different elements from
different architectural traditions or styles
HISTORICISM The recourse to the historical styles as evident in the historical revival
style in architecture.
MODERNISM Philosophical movement in society and culture, especially in art
architecture, that aligned the experiences, transformations, aspirations,
rooted in the industrialization of the 19th and 20th centuries.
CONSTRUCTIVISM Invented in Russia, that plays around with irregular geometric forms in
reaction to the stable forms of conventional architecture; Russian
constructivism played with irregularity of shapes as a form of
architectural revolution in conjunction with social revolutions.
EXPRESSIONISM The 20th century movement that made architecture as a medium of free
expression, rejected the rigidity and formalism of the historical styles and
conventional so that the resulting forms were abstractions.
ORGANICISM Philosophy of architecture that promotes harmony between nature, the
environment, and built architecture.
STRUCTURALISM - Works in terms of binary or distinctive pairs like “in and out”, “up or
down”
- Representations in semiotics and semiology or sign systems.
- It is a belief that phenomena of human life are not intelligible
except through their interrelations.
- elements do not vary and are part of a bigger system of
communication and interrelationships.
POSTMODERNISM A style or movement that emerged in the 1960s and was a reaction to the
formality and lack of variety in modern architecture so that elements of
the historical styles were used or became inspiration in architecture.
DECONSTRUCT-IVISM Part of postmodernism that deconstructs a building into parts or
fragments; producing a total effect of non-symmetry, disharmony, and
instability.
METABOLISM A post-Second World War movement that originated in Japan which
regarded architecture and cities as living organisms that grow.
- Moshe Safdies’s Habitat 67 in Monreal Canada
- Nakagin Capsule Tower in Tokyo by Kisho Kurosawa

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 THEORY OF ARCHITECTURE 3 (FROM RECORDING)
TERM DEFINITION
ARCHITECTURAL The research and decision-making process that helps to identify the scope
PROGRAMMING of work to be designed and performed.
PROGRAMMATIC Refer to abstract ideas intended mainly as functional solutions to
CONCEPTS performance problems without regard to physical response
DESIGN Are concrete ideas intended as physical solutions to architectural problems
CONCEPTS

VICTOR HORTA - Belgian architect

- Founded Art Nouveau Movement
Hotel Tassel - Bult the Tassel House, the first Art Nouveau building
Hotel Solvay - Used materials such as cast iron and wrought iron, glass, steel, and the
Horta House traditional materials of stone and brick for buildings, spaces and
Hotel Van Eetvelde ornaments that followed organic and natural lines through sinuous
Maison Frison tendrils and whiplash effects.
Atelier
“If it is correct that logic is the basis of the creator’s slightest reasoning. I believe it
must not be allowed to interfere with one’s dream of “charm”, that delicate, superfluous
entity that often adds to harsh necessity. Whatever the scope of the building, an artistic
effect brings out results and I bravely set out to work. This was not a mad idea to create
an architecture from scratch, not even to make it progress one step as an art proper,
but a need to express the art through the greatness within architecture, in my own
idiom rather than in the conventional idiom of styles.”

He is the Father of a fresh architectural style, Art Nouveau

Hotel Van Eetvelde

Hotel Tassel Maison Frison

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ANTONI GAUDI - Father of Modernism in Barcelona, Spain
- Follows the footsteps of Horta and Mackintosh in fusing natural or organic
Basilica of the forms in architectural design.
Sagrada Familia, - exponent of Modernista or Modernismo
Casa Mila or La - Works have no straight lines since there are no straight lines in nature.
Pedrera,
Guell Park Works:
- Casa Mila or La Pedrera
- Guell Park
- Basilica of Sagrada Familia

“Those who look for the laws of Nature as a support for their new works collaborate with
the creator. Anything created by human beings is already in the great book of nature.
The most significant element as far as decoration is concerned, is the ending of the
supporting piece which is shaped in a way that conveys the traditional history of
Barcelona.”

- Tribute to nature and architecture as the reflection of Catalonia’s

regional history and heritage
- He created architecture that is exuberant, sublime, fanciful, organic,
colorful, and eternal.

Basilica of the Sagrada Familia Casa Mila

PARK GUELL, ● Originally it contained 60 villas to
BARCELONA be sold as real properties.
SPAIN 1900 ● The project though was never
completed.
● Only 2 houses were built, not by
Gaudi, to serve as showrooms.
Gaudi moved and lived in one of
these houses.

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FRANK LLOYD - studied in the University of Wisconsin, took up engineering
WRIGHT - worked in architectural detailing for J.L Silsbee
- later worked for Dankmar Adler and Louis Sullivan
Falling Water, - design philosophy: architecture should be both humane, functional, and
Solomon R. one with the environment.
Guggenheim
Works:
Museum,
Falling Water
Prairie Style
Solomon R. Guggenheim Museum
House,
Usonian “The mother art is architecture. Without an architecture of our own, we have no soul of
Architecture, our own civilization. Nature is my manifestation of God. I go to nature every day for
Taliesin, inspiration in the day’s work. Study nature, love nature, stay close to nature. It will never
Unity Temple fail you. Space is the breath of art.”
SOLOMON R. - organic architecture, where nature’s basic geometric form, spiral, finds
GUGGENHEIM expression in freely blending gallery spaces.
MUSEUM - Wright’s last major work

PRAIRIE STYLE - typically low-slung, horizontal, minimalist, openly planned, and

HOUSE integrated with natural landscape especially in the materials
- reflected in the Taliesin East and Taliesin West
USONIAN - United States of North America
ARCHITECTURE - type of housing for America’s middle class
- functional, openly planned, without attic or basement.
TALIESIN - Frank Lloyd Wright’s residence.
- Built in 1911 in the family estate in Spring Garden, Wisconsin.
TALIESIN WEST Utilizes natural rocks and red oak to
in Arizona make the house blend with the
environment

UNITY TEMPLE, Modernist church architecture, where Wright displays his bold aggressive
Oak Park, Illinois stance on architecture and manifests a new architectural language of
rectilinear lines.
HERBERT Used Usonian Architecture
JACOBS HOUSE
Madison,
Wisconsin
LE CORBUSIER - Charles Edouard Jenneret
“Space and light and order. Those are the things that men need just as much as they
need bread or a place to sleep.”
LUDWIG MIES “Less is more.”
VAN DER ROHE

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 ARCHITECT STYLE WORK
RADICALISM Fagus Factory, Werkbund
Walter Gropius
BAUHAUS Bauhaus Building
Vladimir Tatlin Monument to the Third
CONSTRUCTIVISM
Alexander Vesnin Lenin Institute in Moscoe
Frank Gehry DECONSTRUCTIVISM Walt Disney Concert Hall
Erich Mendelsohn EXPRESSIONISM Einstein Tower, Potsdam
NEOPLASTICISM Schroeder House in Utrecht
Gerrit Rietveld
DE STIJL Rietveld-Schröderhuis (outside Utrecht)
James Stirling Staatsgalerie, Stuttgart, Germany
POST MODERNISM Vanna Venturi House, Chestnut Hill,
Robert Venturi
Philadelphia
INTERNATIONAL
Villa Savoye, Poissy, Paris
Le Corbusier MODERNISM
NEW BRUTALISM La Tourette Monastery, Lyon, France
Robert Bridges INTERNATIONAL STYLE Palisades Concrete Pier House
Kaufmann House, Falling Water,
ORGANICISM
Guggenheim Museum
USONIAN Herbert Jacobs House in Madison,
Frank Lloyd Wright ARCHITECTURE Wisconsin
MODERNIST CHURCH
Unity Temple in Oak Park, Illinois
ARCHITECTURE
PRAIRIE STYLE HOUSE Taliesin East and Taliesin West in Arizona
Kisho Kurokawa Nakagin Capsule Tower, Tokyo, Japan
METABOLISM
Moshe Safdie Habitat 67 in Monreal Canada
US Pavillion (Geodesic Dome), Expo 67,
Buckminster Fuller TECHNOISM
Montreal, Canada
Francisco Bobby Mañosa CONTEXTUALISM Pearl Farm
Ken Yeang ECOISM Elephant & Castle Eco Towers
Zaha Hadid Performing Arts Centre in Abu Dhabi
METARATIONALISM
Daniel Libeskind Skyscraper from Gazprom City
Giulio Romano MANNERISM Te Palace in Italy
Andrei Stackenschneider ECLECTICISM Palace of Beloselsky-Belozersky
Joseph Paxton STRUCTURALISM Crystal Palace
Raymond Hood &
MONUMENTALISM Chicago Tribune Tower
John Mead Howells
Stephen Sauvestre,
Emile Nouguier, Eiffel Tower
Maurice Koechlin L’ECOLE DE BEAUX ART
Commercial Building along Piccadily,
Robert Adam
London
Hotel Tassel, Hotel Solvay, Van Eetvelde
Victor Horta ART NOUVEAU
House, Horta House Atelier
Casa Mila or La Pedrera, Guell Park,
Antoni Gaudi
MODERNISM Basilica of Sagrada Familia
Peter Behrens AEG Factory, Berlin
Neighborhood houses in Dali reflect
None Specified ISOLATIONISM
traditional Chinese urban architecture

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 REVIEW QUESTIONS: THEORY OF ARCHITECTURE
CURVE LINE A type of line that is graceful, feminine, and represents that architecture
which caters to the emotional rather than the physical.
GRID The ____ is two or more intersecting sets of regularly spaced points and
regularly shaped fields
BASE PLANE The ground plane is a _____ that serves as the physical foundation and
visual base for building forms.
TWO-DIMENSIONAL An architectural plan is:
A. One-dimensional
B. Two-dimensional
C. Three-dimensional
D. An active drawing
RECTANGULAR It is a solid figure that has two pairs of parallel opposite faces and
PRISM congruent bases that are all rectangles.
CLUSTER FORM This is an organized form in which forms are grouped together by proximity
or are made to share a common visual trait.
TEXTURE It is a quality of surface treatment usually associated with materials either
rough or smooth, etc.
MODULOR Unité d’ Habitacion (a building by Le’ Corbusiér) is an example of the
application of what system of proportion?
ANTHROPOMETRY It is the measurement of the human individual for the purposes of
understanding human physical variation.
PROPORTION It is the relationship between different things or parts with respect to
comparative size, number, or degree.
UTILITAS, FIRMITAS, The three requirements of architecture according to Vitruvius.
VENUSTAS A. Form, Function, Flexibility
B. Beauty, Aesthetic, Delight
C. Usage, Strength, Innovation
D. Utilitas, Firmitas, Venustas
VERTICAL LINE A line that can express a state of equilibrium with the force of gravity.
A. Curved line
B. Diagonal line
C. Vertical line
D. Parallel lines
ROOF PLANE This plane is an essential sheltering element that protects the interior of a
building from climatic elements.
A. Overhead plane
B. Roof plane
C. Ground plane
D. Cutting plane
CIRCLE A series of points arranged equally and balanced about a point:
A. Circle
B. Square
C. Parallel line
D. Equilateral Triangle

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VOLUME It is the primary element of design that has three dimensions: it is a plane
extended in a direction other than its intrinsic direction.
A. Axis
B. Volume
C. Extrusion
D. Void
SHAPE Which of the following are considered contrast as to surface?
A. Shape
B. Variety
C. Monotony
D. Size
ORIENTATION A form positive relative to the person viewing the form, to the compass
point, and the ground plane.
A. Position
B. Visual Inertia
C. Orientation
D. Shape
LINEAR Consists of forms arranged sequentially in a row.
ORGANIZATION A. Clustered Organization
B. Linear Organization
C. Radial Organization
D. Grid Organization
RADIAL This type of spatial organization has its central shape in a regular form,
ORGANIZATION and acts as a hub of the linear arms and maintains the formal regularity of
the whole organization.
A. Clustered Organization
B. Linear Organization
C. Radial Organization
D. Grid Organization
VOID As a three-dimensional element, a volume can either be a solid or a ___.
A. Gas
B. Space
C. Void
D. Form
LINE This element describes the edges, gives shape to, and articulates surfaces
of planes.
A. Curve
B. Diagonal Line
C. Borders
D. Line
PROXEMICS The sense of human space and territoriality varies from culture to culture.
SEMANTICS Study of meanings.
INTIMATE Which is related to proxemics and is about 0 to 18 inches?
A. Intimate
B. Personal
C. Social
D. Public
CONTRAST Shows emphasis and opposition or dissimilar elements in a work of design
to intensify each element’s properties and produce a more dynamic
expression.

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UNITY Shows harmony in a composition
SHAPE External boundary or outline or contour of the lines forming the edges of a
plane.
CLUSTERED FORMS It consists of forms that are grouped together by proximity or the sharing
of a common visual trait.
CENTRALIZED This consists of a number of secondary forms clustered about dominant,
FORMS central, or parent forms.
IT CONSISTS OF Which of the following is not a characteristic of a clustered form?
FORMS THAT ARE A. It consists of forms that are separate from each other by proximity or
SEPARATE FROM the sharing of a common visual trait.
EACH OTHER BY B. It groups its forms according to functional requirements of size,
PROXIMITY OR THE shape or proximity.
SHARING OF A C. It is flexible enough to incorporate forms of various shapes, sizes
COMMON VISUAL and orientations into its structure.
TRAIT. D. It may occur in any direction, vertical or horizontal, or both.
FRONTAL It is a direct building approach wherein its approach is clear.
BEAM What structural element of the building cannot be seen in the building
form?
A. Roof
B. Wall
C. Beam
D. Interior
PHILIP JOHNSON Who designed the Glass House?
A. Frank Gehry
B. Norman Foster
C. Philip Johnson
D. Villa Barbaro
ANDREA PALLADIO Who designed the Villa Barbaro?
A. Frank Gehry
B. Norman Foster
C. Philip Johnson
D. Andrea Palladio
POST MODERNISM What architectural style is the AT&T Building by Philip Johnson?
A. Post modernism
B. Modernism
C. Monumentalism
D. International Style
ANTONI GAUDI Who is the father of Modernism?
A. Frank Gehry
B. Renzo Piano
C. Philip John
D. Antoni Gaudi
PETER BEHRENS Who is the architect of the AEG Turbine Factory?
A. Antoni Gaudi
B. Peter Behrens
C. Le Corbusier
D. Auguste Perret

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MODERN What type of architecture is the AEG Turbine Factory?
ARCHITECTURE A. Post Modern Architecture
B. Byzantine Architecture
C. Modern Architecture
D. Art Deco
ANTONIO SANT’ELIA Which Italian architect is notable for futurism and his visionary drawings of
the city of the future?
A. Antonio Sant’Elia
B. Louis Sullivan
C. Donato Bramante
D. Renzo Piano
FRANK LLOYD Which architect is a known follower for organicism?
WRIGHT A. Frank Gehry
B. Rem Koolhaas
C. Frank Lloyd Wright
D. Richard Meier
FRANK LLOYD Which architect said this - “Space is the breath of art.”?
WRIGHT A. Frank Gehry
B. Frank Lloyd Wright
C. Philip Johnson
D. Eero Saarinen
LE CORBUSIER Which architect said this - “Space and light and order. Those are the things
that men need just as much as they need bread or a place to sleep.”?
A. Frank Gehry
B. Frank Lloyd Wright
C. Le Corbusier
D. Eero Saarinen
LUDWIG MIES VAN Which architect said this - “Less is more.”?
DER ROHE A. Frank Gehry
B. Frank Lloyd Wright
C. Philip Johnson
D. Ludwig Mies Van der Rohe
BRUTALIST What type of architecture is the PICC by Leandro Locsin?
A. Brutalist
B. Art Deco
C. Futurism
D. Organicism
METABOLISM What movement originated in Japan which involved the Nakagin Capsul
Tower in Tokyo by Kisho Kurosawa?
A. Structuralism
B. Metabolism
C. Organicism
D. Postmodernism
JUAN NAKPIL Which is NOT a modernist architect?
A. Antoni Gaudi
B. Frank Lloyd Wright
C. Renzo Piano
D. Juan Nakpil

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FRANK LLOYD Which architect used Usonian Architecture?
WRIGHT A. Frank Gehry
B. Frank Lloyd Wright
C. Philip Johnson
D. Ludwig Mies Van der Rohe
SPACE Which is not a basic form of architecture?
A. Point
B. Line
C. Space
D. Volume
VOLUME Which is not a visual property?
A. Color
B. Texture
C. Volume
D. Plane
UNSYMMETRICAL A type of balance that is more subtle and elusive and is more difficult to
attain.
ECLECTICISM This is a mixture of style; selection and combination of different elements
from different architectural traditions or styles
DECONSTRUCTIVISM It is the abstraction of Modernism to the extreme and mainly worked on the
principle of exaggeration of familiar motifs. It is also known as the new
modernism.
MONUMENTALISM This was based on a general notion that (from Adolf Loos) “the form of an
object should last” & that implicitly there are some forms which have
eternal validity.
INTERNATIONAL It is considered a “Ready-made style” imported from the U. S.
STYLE
JEAN- JACQUES Considered as the father of Romanticism
ROUSSEAU
ROMANTICISM IN The goal of this architectural movement was to recapture base emotions,
ARCHITECTURE such as fear and awe, a sense of individualism, and an ability to create
beauty. These sentiments formed the foundation of Romantic architectural
buildings.
SOCIOPETAL This describes environmental conditions that promote social interaction,
such as circular seating arrangements and a comfortable ambient room
temperature.
SOCIOFUGAL SPACE This represents an area dispersed away from the centres of interaction
and is the most suitable for focused work.
ALBERT SPEER He designed the Führerbunker, Deutsches Stadion, and Olympiastadion.
MANNERISM This refers to the manipulation of styles or forms achieved by the learned
juxtaposition of elements for talbhe exclusive aim of achieving originality
or effect.
INTERNATIONAL Albert Speer who spearheaded Nazi Architecture after he joined the Nazi
STYLE Party and designed the Nazi headquarters in Berlin is known for what style?
STRUCTURALISM This includes iron construction that was initiated by Joseph Paxton’s
Crystal Palace that brought about a trend in architecture.
RADICALISM This is marked by a radical shift in emphasis from the buildings of the past
to the design of those which met the demands of modern life.

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CONSTRUCTIVISM This was a passionate pleading for ideas on form & space in architecture
as well as in the other arts .
EXPRESSIONISM This term is used to describe the work of those architects who prefigured
the International & Functionalist Period of the Modern Movement.
NEOPLASTICISM This term relates to the theory of pure plastic art which had a pronounced
influence on Dutch architects.
CONGRÈS This organization was set up by Le Corbusier & Siegfried Giedion and has
INTERNATIONAUX the acronym CIAM.
D'ARCHITECTURE
MODERNE
ORGANICISM This is used as a description of architecture that sympathizes with its
environment which is shown in the early work of Frank Lloyd Wright & the
Prairie School.
UTILITARIANISM It sought for economic solutions for low value sites as well as alternative
cheap forms of construction in timber, brick & metal.
THE NEW BRUTALISM This was first applied to a group of young British architects’ center around
Peter & Alison Smithson, & was marked by a fascination with raw
expression of materials, forms & functions.
METABOLISM This concern with the problems of cities such as Tokyo.
POST METABOLISM This interests in explaining such things as the nature of the house in the
city and are concerned with intricate design on small sites & polemical
(arguable) schemes.
POSTMODERNISM This is an alternative to Modern Movement ideas like revivals of pattern
book principles of the 19th century, a new interest in vernacular forms
adapted to modern needs, a much more strict interpretation of the
theatrical element in Modern Movement architecture proper, a distinctly
confused revival of Wright’s organic views, and a return to the low-rise
high-density developments of the interwar period.
ISOLATIONISM It is conceived independently from its immediate or historical context. It
stands on its own.
CONTEXTUALISM This states that architecture should be apprehended in its total setting.
DECONSTRUCTIVISM It is the abstraction of Modernism to the extreme and mainly worked on
the principle of exaggeration of familiar motifs.
TECHNOISM This describes how architects tried to bridge the gap between fantasy
images and the real possibilities that new technology offered.
ECOISM It merges the interests of sustainability, environmental consciousness,
green, natural, and organic approaches to evolve a design solution from
these requirements and from the characteristics of the site, its
neighborhood context, and the local micro-climate and topography.
METARATIONALISM This happens to architecture when the logic of economist James Galgraith’s
views that in the affluent society there is no meaningful distinction between
luxury and necessity meets that of complexity science with its ability to
overturn conventional structural logic.
DE STIJL This was founded by Van Doesburg, a painter. Jacobus J. P. Oud, one of the
principal aims of the movement is to “construct without any illusion,
without any decoration”.
BAUHAUS A school of art & design founded in 1919 by Walter Gropius
FUTURISM This is the architecture of calculation, of audacity & simplicity.
WALTER GROPIUS The Fagus Factory, Werkbund (Radicalism) is by?

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WALTER GROPIUS The Bauhaus Building in Dessau is by?
VLADIMIR TATLIN Monument to the Third (Constructivism) is by?
ALEXANDER VESNIN The Lenin Institute in Moscoe (Constructivism) is by?
ERICH MENDELSOHN The Einstein Tower, Potsdam (Expressionism) is by?
GERRIT RIETVELD The Schroeder House in Utrecht (Neoplasticism) is by?
GERRIT RIETVELD The Rietveld-Schröderhuis (outside Utrecht) (De Stijl) is by?
LE CORBUSIER Villa Savoye, Poissy, Paris (International Modernism) is by?
ROBERT BRIDGES Palisades Concrete Pier House (International Style) is by?
FRANK LLOYD The Kaufmann House (Organicism) is by?
WRIGHT
LE CORBUSIER The La Tourette Monastery, Lyon, France (The New Brutalism) is by?
KISHO KUROKAWA The Nakagin Capsule Tower, Tokyo, Japan (Metabolism) is by?
JAMES STIRLING The Staatsgalerie, Stuttgart, Germany (Post Modernism) is by?
ROBERT VENTURI The Vanna Venturi House, Chestnut Hill, Philadelphia (Post Modernism) is
by?
FRANCISCO 'BOBBY' The Pearl Farm (Contextualism) is by?
MAÑOSA
FRANK GEHRY The Walt Disney Concert Hall (Deconstructivism) is by?
BUCKMINSTER The US Pavillion (Geodesic Dome), Expo 67, Montreal, Canada
FULLER (Technoism) is by?
KEN YEANG The Elephant & Castle Eco Towers (Ecoism) is by?
ZAHA HADID The new Performing Arts Centre in Abu Dhabi (Metarationalism) is by?
DANIEL LIBESKIND The Skyscraper from Gazprom City (Metarationalism) is by?
GIULIO ROMANO The Te Palace in Italy (Mannerism) is by?
ANDREI The Palace of Beloselsky-Belozersky (Eclecticism) is by?
STACKENSCHNEIDER
JOSEPH PAXTON The Crystal Palace (Structuralism) built for the Great Exhibition in London
is by?
RAYMOND HOOD & The Chicago Tribune Tower (Monumentalism) is by?
JOHN MEAD
HOWELLS
STEPHEN The Eiffel Tower (L’Ecole de Beaux Art) is by?
SAUVESTRE,
EMILE NOUGUIER,
MAURICE KOECHLIN
FRANK LLOYD The Herbert Jacobs House in Madison, Wisconsin (Usonian Architecture) is
WRIGHT by?
FRANK LLOYD The Unity Temple in Oak Park, Illinois (Modernist Church Architecture) is
WRIGHT by?
VICTOR HORTA Who made the following buildings in Art Nouveau Style?
● Hotel Tassel
● Hotel Solvay
● Van Eetvelde House
● Horta House
● Atelier
FRANK LLOYD Who made the following buildings in Organic Architecture Style?
WRIGHT ● Falling Water
● Solomon R. Guggenheim Museum

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ANTONI GAUDI Who made the following buildings in Modernism Style?
● Casa Mila or La Pedrera
● Guell Park
● Basilica of Sagrada Familia
VICTOR HORTA He is the Father of a fresh architectural style, Art Nouveau.
MODERN These people are the pioneers of what architecture?
ARCHITECTURE ● Karl Friedrich Schinkel
● Peter Behrens
● Mies van der Rohe
● Le Corbusier
● Tony Garnier
● Auguste Perret
CONSTRUCTIVISM These people are the pioneers of what architecture?
● Vladimir Tatlin
● Kasimir Malevitch
● Mart Stam
● Naum Gabo
● El Lissitzky
● James Stirling
● Antoine Pevsner
● Marcel Breuer
DE STIJL These people are the pioneers of what architecture?
● Van Doesburg
● Jacobus J. P. Oud
● Gerrit Rietveld
ORGANICISM These people are the pioneers of what architecture?
● Claude Bragdon (US)
● Henry Russell Hitchcock (US)
● Hugo Haring (Germany)
● Hans Scharoun (Germany)
● Bruce Goff (Britain)
● Paolo Soleri (Italy)
● Herb Greene
METABOLISM These people are the pioneers of what architecture?
● Kiyonori Kikutake
● Fumihiko Maki
● Masato Otaka
● Kisho Kurokawa
● Kenzo Tange
POSTMODERNISM These people are the pioneers of what architecture?
● James Stirling
● Robert Venturi
DECONSTRUCTIVISM These people are the pioneers of what architecture?
● Peter Eisenman
● Frank Gehry
● Richard Meier
● Rem Koolhaas

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ECOISM These people are the pioneers of what architecture?
● Ken Yeang
● Renzo Piano
● Sir Norman Foster
● Toyo Ito
METARATIONALISM These people are the pioneers of what architecture?
● Daniel Libeskind
● Steven Holl
● Zaha Hadid

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