THEORY OF ARCHITECTURE I

ARCH136
Spring Semester 2015

Beirut Arab
University
Faculty of Architecture

Dr. Mohamed Sobhy M. Ibrahim

Lecturer @ the Architectural Department
Faculty of Engineering Alexandria University

Bachelor 2000
Master 2005
Creative approach to formulate design : Shape Grammars as a tool
in Architectural design Analysis and Synthesis
PhD 2011 ( Channelled with Strathclyde university , Glasgow, UK)

Structuring the design studio education:

Crafting the projects of the beginning studio using shape grammars

Phone: 002-010-65030817
Email: [email protected]
Facebook: www.facebook.com/mohamed.sobhy

Theory of Architecture- Thinking Architecture

Lecture 1

review Questions

Question 1.1
How is the Architectural problem
different from other ones?
Structure and ill structure, Defined and Ill-defined

Lecture 1

review Questions

Question 1.2
theory -the attempt to decide architectural right and
wrong on purely intellectual grounds
is precisely one of the
roots of our mischief.

Design

What does design involve?

Problem

Design Process
Recognition

Production

(Analysis)

(Design)

Solution

Evaluation

Analysis

PROBLEM

Evaluation

Design
SOLUTION

Lecture 1

review Questions

Question 1.3
Would you consider designing a more RATIONAL or
IMAGINATIVE process ?

Architecture is the art, which above all others, combines

expression, technology, and the satisfaction of Human needs.
Its purpose is to make places where people feel more human,
more alive more fulfilled.
A good theory has a clear picture of what is desirable
a clear idea of why it is desirable
a clear Method to achieve its goal

There is little information or evidence about

major architectural theory in antiquity, until
the 1st century BCE, with the work
ofVitruvius. This does not mean, however,
that such works did not exist. Many works
never survived antiquity. (Wikipedia)

Is it possible toidentify a universal sense of

beauty - a definition of beauty that can be
applied toall people at all times? Don't our
ideas of beauty shift and fight and transform
themselves in different times and spaces?

VITRUVIUS
Marcus Vitruvius, the famous Ancient Roman
architect. Vituvius's most famous work is
entitled TEN BOOKS ON ARCHITECTURE,
and was written in approximately 20-30 BC.

It is the only text on the

subject of architecture to
survive antiquity. It was
also one of the first texts
in history to draw the
connection between the
architecture of the body
and that of the building

Vitruvius believed that an architect should

focus on three central themes when
preparing a design for a building:
firmitas(strength)
utilitas(functionality)
andvenustas(beauty).

Vitruvius thought that a timeless notion of

beauty could be learnt from the 'truth of
nature', that nature's designs were based on
universal laws of proportion and symmetry.
He believed that the body's proportions
could be used as a model of natural
proportional perfection.

according to Vitruvius, that an architect's

designs must refer to the unquestionable
perfection of the body's symmetry and
proportions. If a building is to create a sense
ofeurythmia- a graceful and agreeable
atmosphere - it is essential that it mirrors
these natural laws of harmony and beauty.

Later on, most theoretical studies of

architecture placed Vitruvius at the core of
the most profound theoretical tradition of all
ages. Believing that good architecture is
validated through the Vitruvian triad, which
defines its purpose.
in the 17th century bySir Henry Wottoninto the English
sloganfirmness, commodity and delight(meaning
structural adequacy, functional adequacy, and beauty).

Firmness:
We must build buildings with strength to
survive the elements and the forces of
nature. A building needs to stand up, to
protect its occupants keep them dry and
warm in the winte r and cool in the summer.
It also needs to be built to protect itself. It
must shed water away from its structure to
prevent rot in organic materials, decay in
masonry, and
corrosion
in metals.
We can
Also refer
to it It is
wasteful toasreplace
building materials

TECHNOLOGY
frequently.

Commodity:
A building must be well designed, laid out
efficiently so that spaces for related
activities are adjacent. The building must be
composed not just in plan but in section,
with regard to the hierarchy of its spaces. A
building should be laid out so that the most
important activities take place in the most
important spaces. We must consider how to
use building materials efficiently, and know
the most suitable materials for that building
We can Also refer to it
in that particular locationin terms of
as
availability and durability. Practicality

Delight:
This represents the most difficult of the Vitruvian
ideals to define.We are trained to believe that
beauty is subjective, that it rests in the eye of the
beholder. Vitruvius held a very different idea. He
believed that architectural beauty was
quantifiable, stating that account will have
been taken of Beauty so the relative
measurements of the members will give the work
a pleasing and elegant purpose.

Q: Can the same criteria live up to todays

expectations?
these same criteria are as relevant
today as they were long ago during
the early days of the Roman Empire.
These are relevant words to guide us,
not just for the design of individual
buildings, but also for the design of
communities, cities and regions.

Architecture ..again
Architecture is the art, which above all others, combines

expression, technology, and the

satisfaction of Human needs. Its purpose is to
make places where people feel more human, more alive
more fulfilled.

Theory and History

architectural theory has always been based
implicitly upon one of two interpretations of
history.
1. On one hand, it has been held within the
normative view of history that history is
the repository of permanent values
transmitted from one generation to the
next in the form of myths and apodictic
truths, accompanied with a belief in a
golden age in which those values were
manifest in a pure form.
2. On the other hand, there is the relativistic
view of history, in which it has been held
that history is a process of evolution

Theory and Tradition

Theory is wrongly set apart form tradition, while
history is often wrongly equated with it.
Architectural theory is not a substitute for
tradition. Nor is tradition a substitute for
architectural theory. Tradition is a particular
aspect of theory. It rehearses that which is
there.
In not letting go we can build on what there is
and improve it. Alternatively, we can react
passionately, revolt and destroy what is there in
the belief we can do it better. Both are
theoretical positions with regard to tradition

Architectural Theory: Thinking,

Deciding & Doing

Thinking

in architecture is an essential
discipline. Theory is thinking about practice
And you need to practice theory to become
good at it. Just like sketching.

Architectural Theory: Thinking,

Deciding & Doing
An important aspect of design is PRIORITISING
That is, deciding upon priorities within the chaos of
conflicting desires and possibilities. How do we justify
those priorities, how do we avoid disappointment?
How do we find our way in this forest of possibilities..
How does this particular idea, translate into that
particular action or that particular form, treatment or
arrangement?
Strangely enough the answer is: you dont know that
for certain. You may believe you have found the
method. But do not close your mind around that
one method.

Architectural Theory: Thinking,

Deciding & Doing
There is no single all-encompassing correct and
fully satisfying way of doing things. Keep your mind
open. Occasionally we like to see ourselves as a
helpless medium for a higher authority. It is a
comforting thought. After all, it removes all
responsibility from our own shoulders and allows us
to
others
who put
theories.
Butblame
it does
not mean
thatsuch
we can
blame the system/
theory for what goes wrongAfter all, we make the
system/ theory according to our understanding of the
way things work, therefore, we are fully
responsible for what we believe, for what we
choose to do and for what we choose to remember.

We need students who are robust enough to accept

criticism for what it is and use it constructively, All
forms of criticism are constructive. The students,
however, need to be armed with confidence to combat
the destructive effects of despair. Then criticism
becomes useful to them. Confident people are people
who can listen carefully and argue well.

Our Course Approach is based upon the relativistic

approach, trying to provide basic about architectural
DELIGHTS, FIRMNESS and COMMODITY
Architecture is the narrative of activity,
written not one dimensionally, like Novels,
not two dimensionally like paintings, but
three dimensionally, like a building.
Well also try to shed light on other
aspects that affects our perception and
judgment of this narrative as human : how
though, belief and attitude interact with
building form and affect our priorities,
approach and values as well as the
implicitly Conveyed messages, etc.

Design Aspects
1- Delight Aesthetic principles

PROPERTIES OF FORM

Spatial System

Enclosure System Circulation System

Context

PROPERTIES OF FORM
SHAPES ELEMENTS
( Generators of
forms)
Point ( 0-D)
Indicates a Position in space

Line( 1-D)
With properties of
length , direction and
position

Plane( 2-D)
With properties of
length &width,
shape ,surface,
orientation & position

Volume( 3-D)
With properties of
length ,width& depth ,
form & space ,surface,
orientation & position

PROPERTIES OF FORM
SHAPES ELEMENTS
The Point

A point marks a position in space. Conceptually,

it has no length, width, or depth, and is
therefore static, centralized, and directionless

PROPERTIES OF FORM
SHAPES ELEMENTS
The Point

Although a point theoretically has neither

shape nor form, it begins to make its
presence felt when placed within a visual
field. At the center of its environment, a
point is stable and at rest, organizing
surrounding elements about itself and
dominating its field.

PROPERTIES OF FORM
SHAPES ELEMENTS
The Point

When the point is moved off-center,

however, its field becomes more aggressive
and begins to compete for visual
supremacy. Visual tension is created
between the point and its field.

PROPERTIES OF FORM
SHAPES ELEMENTS
The Point

A point has no dimension.

To visibly mark a position
in space or on the ground
plane, a point must be
projected vertically into a
linear form, as a column,
obelisk, or tower. Any
such columnar element is
seen in plan as a point
and therefore retains the
visual characteristics of a
point.

PROPERTIES OF FORM
SHAPES ELEMENTS
The Point

A point has no dimension.

To visibly mark a position
in space or on the ground
plane, a point must be
projected vertically into a
linear form, as a column,
obelisk, or tower. Any
such columnar element is
seen in plan as a point
and therefore retains the
visual characteristics of a
point.

PROPERTIES OF FORM
SHAPES ELEMENTS
The Point

Burj Dubai

A point has no dimension.

To visibly mark a position
in space or on the ground
plane, a point must be
projected vertically into a
linear form, as a column,
obelisk, or tower. Any
such columnar element is
seen in plan as a point
and therefore retains the
visual characteristics of a
point.

PROPERTIES OF FORM
SHAPES ELEMENTS
The Point

Tholos of Athena Pronaia

Tholos of Polyceitos, Epidauros,

Greece

Other point-generated
forms that share these
same visual attributes
are the:

PROPERTIES OF FORM
SHAPES ELEMENTS
The Point

Colosseum, Rome

Other point-generated
forms that share these
same visual attributes
are the:

PROPERTIES OF FORM
SHAPES ELEMENTS
The Point

Baptistery at pisa

Other point-generated
forms that share these
same visual attributes
are the:

PROPERTIES OF FORM
SHAPES ELEMENTS
The Point

Guggenheim Museum

Other point-generated
forms that share these
same visual attributes
are the:

PROPERTIES OF FORM
SHAPES ELEMENTS
The Point

Cenotaph for Sir Isaac Newton,

Etienne- louie- boullee

Other point-generated
forms that share these
same visual attributes
are the:

PROPERTIES OF FORM
SHAPES ELEMENTS
The Line

Two points describe a line that connects them.

Although the points give this line finite length,
the line can also be considered a segment of an
infinitely longer path.

PROPERTIES OF FORM
SHAPES ELEMENTS
The Line

Two points further suggest an axis perpendicular

to the line they describe and about which they
are symmetrical. Because this axis may be
infinite in length, it can be at times more
dominant than the described line.

PROPERTIES OF FORM
SHAPES ELEMENTS
The Line

Basilica fo Nonantola near

Modena (Italy)

Two points established in space by columnar

elements or centralized forms can define an
axis, an ordering device used throughout history
to organize building forms and spaces.

PROPERTIES OF FORM
SHAPES ELEMENTS
The Line

Main Prayer Hall, Al Azhar

Mosque, Cairo

Two points established in space by columnar

elements or centralized forms can define an
axis, an ordering device used throughout history
to organize building forms and spaces.

PROPERTIES OF FORM
SHAPES ELEMENTS
The Line

Merrivale Menhir, Denvor,

England

Vertical linear elements, such as columns, obelisks,

and towers, have been used throughout history to
commemorate significant events and establish
articular points in space.

PROPERTIES OF FORM
SHAPES ELEMENTS
The Line

Column of Marcus Aurelius

(commemorates the emperors
victory over Germanic tribes
north of the Danube.)

Vertical linear elements, such as columns, obelisks,

and towers, have been used throughout history to
commemorate significant events and establish
articular points in space.

PROPERTIES OF FORM
SHAPES ELEMENTS
The Line

Blue Mosque, Turkey

Vertical linear elements can also define a

transparent volume of space. In the example
illustrated, four minaret towers outline a spatial field
from which the dome of the Blue Mosque.