ARCHITECTURAL DESIGN (ARD)

CORRELATION

PRESENTED BY:
Aaron Capacia
Aleksi John Casenas
Jeff Escobar
Balsy Anne S. Leyco
Lyzza Mhae Cassandra R. Orcio
WHAT IS ARCHITECTURE?

• BOTH A PROCESS AND PRODUCT OF PLANNING, DESIGNING

AND CONSTRUCTING BUILDINGS AND OTHER PHYSICAL
STRUCTURES.
• IT IS BOTH SCIENCE AND ART.
• ITS BOT LIMITED TO BUILDINGS ONLY, BUT WITH THE
CONSTRUCTION OF BUILT ENVIRONMENT TOO.
PRINCIPLES OF ARCHITECTURE
• FUNCTION FOLLOWS FORM
- IT MEANS SOMETHING THAT IS CREATED GIVING
PREFERENCE TO FORM. THE FUNCTION FOLLOWS IT.

• FORM FOLLOWS FUNTION

-IT MEANS SOMETHING IS CREATED IN A MANNER (OR
FORM), WHICH ALLOWS IT TO PERFORM ITS FUNCTION.
PRINCIPLES OF ARCHITECTURE
• UNITY
• CONTRAST
• PROPORTION
• SCALE
• EXPRESSION
 UNITY
• MEANING ONENESS.
• HARMONY AGAINST
ELEMENTS.
• IT GIVES COHERENCE TO
THE PARTS AND INTEGRITY
TO THE WHOLE.
CONTRAST
• MASS COMPOSTION WITH
HARMONIOUS UNITY
SHOULD CREATE INTEREST
IN THE DESIGN SO AS TO
CATCH THE ATTENTION OF
THE OBSERVER.
• MONOTOMY MAY REDUCE
INTEREST.
• CONTRAST REDUCES
MONOTOMY.
PROPORTION
• RESULTS OF ARRANGEMENT OF
VARIOUS ELEMENTS IN PROPER
PROPORTION WITH EACH OTHER
AND THAT WITH THE COMPOSITION
AS A WHOLE.
• IT IS ENTIRELY A MATTER OF
RELATIONSHIP.
• IT IS NOT THE ACTUAL SIZE BUT THE
RELATIVE SIZE OF ONE FROM
ANOTHER.
SCALE
• THE PROPORTION IS NOT
MERELY A MATTER OF
RELATIVE DIMENSIONS
BUT THE RESULT OF
SCALE ALSO.
• INTIMATE SCALE
• MONUMENTAL SCALE
EXPRESSION
• REPRESENTS A CREATION OF THE BUILDING AND
REPRESENTS THE HARMONY THROUGH COLOUR CODE,
SHAPES, LINES ETC.
• EXTERNAL EXPRESSION
• INTERNAL EXPRESSION
• IT STRONGLY SHAPES MAN’S PSYCHOLOGY AND
INFLUENCES HIS ESTHETIC SENSITIVITY.
DESIGNING PHASE OF ARCHITECTURAL DESIGN
CONCEPTUAL DESIGN
PHASES ARE THE FOLLOWING:
• PRE-DESIGN
• SITE ANALYSIS
• SCHEMATIC DESIGN
PRE- DESIGN
• DESIGN OBJECTIVES
• LIMITATION AND CRITERIA
• SITE REQUIREMENTS
• SPACE RELATION
• INITIAL APPROXIMATE
FACILITY AREAS AND SPACE
REQUIREMNTS
SITE ANALYSIS
• SITE ANALYSIS AND
SELECTION
• SITE DEVELOPMENT
PLANNING
• ZONING PROCESSING
• DISTINK PHASE BECAUSE
IT INVOLVES ON- SITE
ACTIVITY IN REAL
PROJECTS.
SCHEMATIC DESIGN
• SPACE LAYOUT OR SPACE
SCHEMATICS
• CONCEPTUAL SITE AND
BUILDING PLANS
• PRELIMINARY SECTIONS AND
ELEVATIONS
• PRELIMINARY SELECTION OF
BUILDING SYSTEMS AND
MATERIALS
• APPROXIMATE DIMENSIONS,
AREAS AND VOLUMES,
PERSPECTIVE SKETCHES AND
STUDY MODELS
PROJECT PHASE
CONSISTS OF THE FOLLOWING:
• PROGRAMMING
• SCHEMATIC DESIGN
• DESIGN DEVELOPMENT
• CONSTRUCTION DOCUMENT
• CONTRACT ADMINISTRATION
PROGRAMMING
• ALSO KNOW AS PRE DESIGN
• PROBLEM SEEKING STAGE
• IN DEPTH ANALYSIS AND
DOCUMENTATION OF NEEDS
REQUIREMENT GOALS AND
OBJECTIVES.
• “THE SYSTEMATIC PROCESS OF
GATHERING AND ANALYZING
INFORMATION ABOUT A BUILDING
OR OTHER SETTING, AND THEN
USING THAT INFORMATION TO
CREATE GUIDELINES FOR THE
PERFORMANCE OF THAT SETTING.”
(DUERK 1993)
DESIGN DEVELOPMENT
• REFINEMENT OF FINALIZED DESIGN.
• APPROXIMATELY 20% OF THE
ARCHITECTS WORK AND FEES.
• THE ARCHITECT AND OWNER WILL
WORK TOGETHER TO SELECT
MATERIALS INCLUDING INTERIOR
FINISHES AND PRODUCTS SUCH AS
WINDOWS. DOORS, FIXTURES,
APPLIANCES, AND MATERIALS.
• THE ARCHITECT WILL REVISE THE
DRAWINGS WITH MORE SPECIFICITY
AND DETAIL THAN IN SCHEMATIC
DESIGN.
ARCHITECTURAL DESIGN VARIABLES
THREE MAIN VARIABLES
• NEED
• CONTEXT
• FORM
NEED
DESIGN DATA

• IMPORTANT ACTIVITY IN THE BEGINNING OF THE DESIGN

PROCESS.
• COLLECTION OF RELEVANT DESIGN DATA AND EXAMPLES.
CIRCULATION

• ONE OF THE MOST

IMPORTANT ASPECTS OF
DESIGN BECAUSE IT
AFFECTS THE HUMAN
EXPERIENCE OF SPACE
AND PLACE.
CONTEXT
• SITE
• ZONING
• SERVICES
• MACRO CLIMATE
• MICRO CLIMATE
• ADJACENT BUILDINGS
• GEOGRAPHICAL FACTORS
• VEHICULAR ACCESS
FORM
• ZONING
• CIRCULATION
• STRUCTURE
• ENCLOSURE
• CONSTRUCTION TYPE
• CONSTRUCTION PROCESS
• ENERGY
• CLIMATE CONTROL
• IMAGE
DESIGN COMPOSITION
STATIC COMPOSITION
• APPEARS AT REST.
• USUALLY ASSYMETRICAL.
• IF DONE RIGHT SUGGESTS POWER,
PERMANENCE, AUTHORITY.
• IF DONE WRONG COMES OUT
BORING.
DYNAMIC COMPOSITION
• USUALLY ASSYMETRICAL.
• IF DONE RIGHT SUGGESTS
ACTIVITY, EXCITEMENT AND FUN.
• IF DONE WRONG COMES OUT
DISORIENTING.
SPACE PLANNING
• THE ORGANIZING OR ARRANGING OF SPACES TO
ACCOMMODATE FUNCTIONAL NEEDS.
SENSE OF PLACE
• WELL- BEING AND CONFIDENCE RESULTING FROM AN
ACCEPTED CONCEPT OF SPACE FUNCTIONAL NEEDS.
• PROVIDED BY PLACES THAT ARE DEEPLY MOMORABLE
FOR THEIR ARCHITECTURAL AND EPERIMENTAL
QUALITIES THE CONCEPT AND SCHEME.
PARTI
• THE CENTRAL IDEA OR CONCEPT OF A BUILDING.
• USUALLY A DIAGRAM SHOWING GENERAL FLOOR
ORGANIZATION, MASSING, ENTRANCE, SPATIAL
HEIRARCHY, SITE RELATIONSHIP, WHERE CORE IS.
INTERIOR CIRCULATION, PUBLIC/PRIVATE ZONING.
• WHEN DESIGNING OTHER PARTS OF THE BUILDING,
CONSIDER HOW IT CAN EXPRESS AND REINFORCE THE
IDEA OF THE PARTI.
Concept
• An abstract idea a plan or
intention
an idea or invention to help sell
or publicize a commodity idea,
notion, theory, conviction,
opinion.
• It is an idea, a theory or notion,
but in architecture we could also
describe a concept as ‘an
approach’ to the design.
• The designers way of
responding to the design
situation presented to
them. They are a means of
translating the non-physical
design problem into the physical
building product.
There are several areas the designer may focus on at the early stages of
design that will begin to inform the concept and direction.
These areas may be drawn upon throughout the project, weaved into one
another, as the project develops. The approaches can be categorized as:
Functional
Material
Contextual
Conceptual
Formal
Collaborative
Philosophical
Functional
• Every project should have an element of a contextual approach, as
every design should consider its context, site and surroundings. Some
designs may focus more on this than others, and some may take this as
the most important factor in design.
• A contextual approach to a design does not always mean it will sit
harmoniously in its surroundings. The architect may choose to turn the
buildings back on the context, or perhaps create a contrast between the
old and the new. There are a number of approaches to the contextual
concept.
Conceptual
• A conceptual approach to a design is looking at the idea of conceptual
architecture. This suggests that every part of the project is about the
concept. The sole focus of the design is about the idea, rather than a
combination of approaches and processes. Conceptual architecture is
sometimes never built, but rather designed as a form of thought
provocation, exploration of ideas.
Formal
• A formal approach to design looks at drawing on the formal language
of architecture to develop a concept. We look to architecture from the
classical period to inform our approach to developing the formal rules
of our design. The classical orders are one of the earliest systems of
architectural language, which give formality to proportion, scale and
form.
• Although the design may not be classical in its style, it may be that the
formal rules of proportions, scale, the golden section and so on are
translated into a contemporary building.
Collaborative
• Most projects can be considered to be collaborative. Whether there is a
large design team working on the different aspects of the building,
there is also the client, stakeholders, engineers, surveyors, contractors
and many more people involved in the design. However, the end user
of the building is one of the important parts of the puzzle that often is
not directly involved in the design process.
Philosophical
• Another approach to architectural concepts is to consider your design philosophy. This is a set of
values you use to inform your design. The values could be the life values of the designer, or could
be a reflection of the design brief or context of the site, or indeed a combination of all three.
• You could investigate some of the following statements:

artistic vs. scientific

rational vs. irrational

personal vs. universal

visual vs. non visual

needs vs. wants

individual vs. society

Then you can go on to look at your values in terms of design. How do these values
work with the design problems you face on this particular project?

ordered vs. random

structured vs. unstructured
objective vs. subjective
one answer vs. multiple solutions
creative vs. conservative
specific vs. general
man vs. nature
complexity vs. simplicity
design for now vs. design for the future
patterned process vs. random process
Exercises and Ideas
Your concept should evolve alongside your in depth site analysis, and
design brief generation. Development of your architectural concept
should not be the very first thing you look at with your design.
The following ideas might help you develop your design concept.

• Break it down
- Explore the information you have collected and break it down into
areas that have meaning to you. Consider the problems, the influences,
the context.
Understand the problem
• Make a diagram of the problems, or requirements of the building. By
understanding the needs you may be led to an approach to focus on.
Sketch
• Another useful way to develop your ideas, sketch out your concepts.
Whether it is tiny elements of design detail, or general form of your
building. Keep referring back to your sketches, as they may inspire a
development of design.
Design Solution
Your concepts and solutions will begin to build as you explore the
different factors required in your design and the values and ideas you
can come up with. Hopefully these tips and pointers will help you to
develop your concepts in design, and give you more confidence in
presenting your designs.
ARCHITECTURAL FORMS
ADDITIVE FORMS
• APPEAR ASSEMBLED FROM
DIFFERENT PLACES.

MANCHESTER CIVIL JUSTICE CENTER

SUBTRACTIVE FORMS
• APPEAR CARVED OR CUT FROM
PREVIOUSLY ‘WHOLE’ FORM

GWATHMEY RESIDENCE,
NEW YORK

BY : ARCH. CHARLES
KANCHANJUNGA APARTMENTS
GWATHMEY-1967
BY: ARCH. CHARLES CORREA -
1983
ARCHITECTURAL SYMBOLS
WINDOW SYMBOLS
DOOR SYMBOLS
TOPOGRAPHIC SYMBOLS
BUILDING MATERIALS SYMBOLS
OTHER SYMBOLS
TEXT AND LAYOUT
TITLES
• GENERALLY THE LETTERING IS BETWEEN 3/16’’ AND ½’’
HIGH.
• TO ACCENT THE TITLES EVEN MORE THEY ARE
UNDERLINED.
SECTION MARKS
• THE ARROW CAN BE LEFT OPEN OR COLORED IN.
TITLE BLOCK
• A VERY IMPORTANT
PART OF THE
OVERALL DRAWING.
• THEY CONTAIN
INFORMATION NOT
GIVEN DIRECTLY ON
THE DRAWING WITH
DIMENSIONS OR
NOTES.