THEORY OF ARCHITECTURE

AR. JOSEPHINE SANDY R. LU

ARCHITECT

from the Greek words:

ARCHI = foremost
TEKTON = worker
THEORY

A body of related facts or principles used to

explain a phenomenon and is the basis for
future action.
PRIMARY ELEMENTS OF DESIGN
 POINT
 LINE
 PLANE
 VOLUME
PRIMARY ELEMENTS OF DESIGN
 POINT
 INDICATES A POSITION IN SPACE
PRIMARY ELEMENTS OF DESIGN
 LINE
 A POINT EXTENDED WITH THE PROPERTIES OF:
LENGTH, DIRECTION, POSITION
 1D
PRIMARY ELEMENTS OF DESIGN
 PLANE
 A LINE EXTENDED WITH THE PROPERTIES OF:
LENGTH & WIDTH, SHAPE, SURFACE,
ORIENTATION, POSITION
 2D
PRIMARY ELEMENTS OF DESIGN
 VOLUME
 A PLANE EXTENDED WITH PROPERTIES OF
LENGTH, WIDTH & DEPTH, FORM & SPACE,
SURFACE, ORIENTATION, POSITION
 3D
FORM
 DENOTES THE FORMAL STRUCTURE OF A WORK –
THE MANNER OF ARRANGING AND
COORDINATING THE ELEMENTS AND PARTS OF A
COMPOSITION SA AS TO PRODUCE A
COHERENT IMAGE
 REFERENCE TO BOTH INTERNAL STRUCTURE AND
EXTERNAL OUTLINE AND THE PRINCIPLE THAT
GIVES UNITY TO THE WHOLE
PROPERTIES OF FORM
 SHAPE
 SIZE
 COLOR
 TEXTURE
 POSITION
 ORIENTATION
 VISUAL INERTIA
PROPERTIES OF FORM
 SHAPE
 THE CHARACTERISTIC OUTLINE OR SURFACE
CONFIGURATION OF A PARTICULAR FORM
 PRINCIPAL ASPECT BY WHICH WE IDENTIFY &
CATEGORIZE FORMS
PROPERTIES OF FORM
 SIZE
 THE PHYSICAL DIMENSIONS OF LENGTH, WIDTH AND
DEPTH OF A FORM
PROPERTIES OF FORM
 COLOR
 A PHENOMENON OF LIGHT AND VISUAL PEREPTION
THAT MAY BE DESCRIBED IN TERMS OF AN
INDIVIDUAL’S PERCEPTION OF HUE, SATURATION
AND TONAL VALUE
 ATTRIBUTE THAT CLEARLY DISTINGUISHES A FORM
FROM ITS ENVIRONMENT
 ALSO AFFECTS THE VISUAL WEIGHT OF A FORM
PROPERTIES OF FORM
 TEXTURE
 THE VISUAL AND ESPECIALLY TACTILE QUALITY
GIVEN TO A SURFACE BY THE SIZE, SHAPE,
ARRANGEMENT AND PROPORTIONS OF THE PARTS
 DETERMINES THE DEGREE TO WHICH THE SURFACES
OF A FORM REFLECT OR ABSORB INCIDENT LIGHT
PROPERTIES OF FORM
 POSITION
 THE LOCATION OF A FORM RELATIVE TO ITS
ENVIRONMENT OR THE VISUAL FIELD WITHIN WHICH
IT IS SEEN
PROPERTIES OF FORM
 ORIENTATION
 THE DIRECTION OF A FORM RELATIVE TO THE
GROUND PLANE, THE COMPASS POINTS, OTHER
FORMS, OR TO THE PERSON VIEWING THE FORM
PROPERTIES OF FORM
 VISUAL INERTIA
 THE DEGREE OF CONCENTRATION AND STABILITY OF
A FORM
 DEPENDS ON ITS GEOMETRY, ORIENTATION RELATIVE
TO THE GROUND PLANE, PULL OF GRAVITY AND
OUR LINE OF SIGHT
TRANSFORMATION OF FORM
 DIMENSIONAL TRANSFORMATION
 SUBTRACTIVE TRANSFORMATION
 ADDITIVE TRANSFORMATION
TRANSFORMATION OF FORM
 DIMENSIONAL TRANSFORMATION
 ALTERING ONE OR MORE OF ITS DIMENSTINS AND
STILL RETAIN ITS IDENTITY AS A MEMBER OF A FAMILY
OF FORMS
TRANSFORMATION OF FORM
 SUBTRACTIVE TRANSFORMATION
 SUBTRACTING A PORTION OF ITS VOLUME
TRANSFORMATION OF FORM
 ADDITIVE TRANSFORMATION
 ADDITION OF ELEMENTS TO ITS VOLUME
SPATIAL RELATIONSHIPS
 SPACE WITHIN A SPACE
 INTERLOCKING SPACES
 ADJACENT SPACES
 SPACES LINKED BY A COMMON SPACE
SPATIAL RELATIONSHIPS
 SPACE WITHIN A SPACE
 A SPACE CONTAINED WITHIN THE VOLUME OF A
LARGER SPACE
SPATIAL RELATIONSHIPS
 INTERLOCKING SPACES
 THE FIELD OF A SPACE MAY OVERLAP THE VOLUME
OF ANOTHER SPACE
SPATIAL RELATIONSHIPS
 ADJACENT SPACES
 TWO SPACES MAY ABUT EACH OTHER OR SHARE A
COMMON BORDER
SPATIAL RELATIONSHIPS
 SPACES LINKED BY A COMMON SPACE
 TWO SPACES MAY RELY ON AN INTERMEDIARY
SPACE FOR THEIR RELATIONSHIP
SPATIAL ORGANIZATIONS
 CENTRALIZED
 LINEAR
 RADIAL
 CLUSTERED
 GRID
SPATIAL ORGANIZATIONS
 CENTRALIZED
 A CENTRAL DOMINANT SPACE ABOUT WHICH A
NUMBER OF SECONDARY SPACES ARE GROUPED
SPATIAL ORGANIZATIONS
 LINEAR
 A CENTRAL DOMINANT SPACE ABOUT WHICH A
NUMBER OF SECONDARY SPACES ARE GROUPED
SPATIAL ORGANIZATIONS
 RADIAL
 A CENTRAL SPACE FROM WHICH LINEAR
ORGANIZATIONS OF A SPACE EXTEND IN A RADIAL
MANNER
SPATIAL ORGANIZATIONS
 CLUSTERED
 SPACES GROUPED BY PROXIMITY OR THE SHARING
OF A COMMON VISUAL TRAIT OR RELATIONSHIP
SPATIAL ORGANIZATIONS
 GRID
 SPACES ORGANIZED WITHIN A FIELD OF A
STRUCTURAL GRID OR OTHER 3D FRAMEWORK
CIRCULATION ELEMENTS
 APPROACH
- THE DISTANT VIEW
 ENTRANCE
- FROM OUTSIDE TO INSIDE
 CONFIGURATION OF THE PATH
- THE SEQUENCE OF SPACES
CIRCULATION ELEMENTS
 APPROACH
a) FRONTAL – LEADS DIRECTLY TO THE ENTRANCE OF A
BUILDING ALONG A STRAIGHT PATH
b) OBLIQUE – ENHANCES THE EFFECT OF PERSPECTIVE
ON THE FRONT FACADE AND FORM OF A BUILDING
c) SPIRAL – PROLONGS THE SEQUENCE OF THE
APPROACH AND EMPHASIZES THE 3D FORM OF A
BUILDING AS WE MOVE ALONG ITS PERIMETER
CIRCULATION ELEMENTS
 ENTRANCE
 ESTABLISHING A REAL OR IMPLIED PLANE
PERPENDICULAR TO THE PATH OF THE APPROACH
a) MAY BE A PASSAGE THRU AN IMPLIED PLANE
b) CHANGE IN LEVEL
c) OPENING IN A WALL
CIRCULATION ELEMENTS
 CONFIGURATION OF THE PATH
a) LINEAR
b) RADIAL
c) SPIRAL
d) GRID
e) NETWORK
f) COMPOSITE
PATH-SPACE RELATIONSHIPS
 PASS BY SPACES
 PASS THROUGH SPACES
 TERMINATE IN A SPACE
PATH-SPACE RELATIONSHIPS
 PASS BY SPACES
 INTEGRITY OF EACH SPACE IS MAINTAINED
 CONFIGURATION OF A PATH IS FLEXIBLE
 MEDIATING SPACES CAN BE USED TO LINK THE PATH
WITHIN SPACES
PATH-SPACE RELATIONSHIPS
 PASS THROUGH SPACES
 THE PATH MAY PASS THROUGH A SPACE AXIALLY,
OBLIQUELY OR ALONG ITS EDGE
 IN CUTTING THROUGH A SPACE, THE PATH CREATES
PATTERNS OF REST AND MOVEMENT WITHIN IT
PROPORTION
 DIMENSIONAL RELATIONSHIPS OF ELEMENTS
OF AN ARCHITECTURAL DESIGN TO EACH
OTHER AND TO THE WHOLE
TYPES OF PROPORTION
 ABSOLUTE PROPORTION
- DIMENSIONS OF ELEMENTS ARE RELATED TO
THE WHOLE DESIGN

 RELATIVE PROPORTION
- DIMENSIONS OF ELEMENTS ARE RELATED TO
DIMENSIONS OF OTHER ELEMENTS
TYPES OF PROPORTION
THEORIES OF PROPORTION
 GOLDEN SECTION
 CLASSICAL ORDERS
 RENAISSANCE THEORIES
 MODULOR
 KEN
 ANTHROPOMETRY
THEORIES OF PROPORTION
 GOLDEN SECTION
 THE ORIGINAL ORGANIZING AND PROPORTIONING
METHOD OR FORMULA FOR ART AND
ARCHITECTURE
 PROPORTION OF 1 : 1.618
THEORIES OF PROPORTION
 NAUTILUS SHELL
THEORIES OF PROPORTION
 GOLDEN SECTION
THEORIES OF PROPORTION
 GOLDEN SECTION
THEORIES OF PROPORTION
 CLASSICAL ORDERS
 PRINCIPLE OF USING THE DIAMETER OF COLUMNS
AS THE BASIS FOR PROPORTION
THEORIES OF PROPORTION
 RENAISSANCE THEORIES
 REGULATING LINES
 PRINCIPLE OF USING RATIOS AS A MEANS OF
CONSTRUCTING AN ORDERED GEOMETRY IN A
BUILDING, MOST VISIBLY IN ELEVATION, BUT ALSO IN
PLAN AND SECTION
a) ARITHMETIC
b) GEOMETRIC
c) HARMONIC
 THEORIES OF PROPORTION
 RENAISSANCE THEORIES: RATIO

 ratio of 1:2, 2:3, or 3:4 is  ratio of 5:6 or 4:5

applied to buildings or Andrea Palladio
rooms
THEORIES OF PROPORTION
 RENAISSANCE THEORIES: REGULATING LINES

 Basilica di Sant’ Andrea (Mantua, Italy)

Leon Battista Alberti
THEORIES OF PROPORTION
 MODULOR
 BASED ON BOTH MATHEMATICS (THE AESTHETIC
DIMENSIONS OF THE GOLDEN SECTION & THE
FIBONACCI SERIES) AND THE PROPORTIONS OF THE
HUMAN BODY (FUNCTIONAL DIMENSIONS)
 BASED ON APPARENTLY ARBITRARY PROPORTIONS
OF AN "IDEAL MAN” (PROBABLY LE CORBUSIER
HIMSELF)
THEORIES OF PROPORTION
 MODULOR
THEORIES OF PROPORTION
 KEN
 A LINEAR UNIT FOR
REGULATING THE
COLUMN SPACING IN
TRADITIONAL JAPANESE
CONSTRUCTION, INITIALLY
SET AT 6 FT OR 1.8 METERS,
BUT LATER VARYING
ACCORDING TO ROOM
WIDTH AS DETERMINED BY
TATAMI UNITS
 1 TATAMI MAT = 0.9 X
1.8m OR 3 X 6ft
THEORIES OF PROPORTION
 KEN

 A possible layout of a
4-1/2 mat room.
THEORIES OF PROPORTION
 KEN
THEORIES OF PROPORTION
 ANTHROPOMETRY
 FROM THE GREEK WORDS
 ANTHRO = MAN
 POMETRIC = MEASURE
 MEASUREMENT AND STUDY OF THE SIZE AND
PROPORTIONS OF THE HUMAN BODY
 FUNCTIONAL RATIO
THEORIES OF PROPORTION
 ANTHROPOMETRY
SCALE
 A SYSTEM OF ORDERED MARKS LAID
DOWN AT KNOWN INTERVALS AND USED
AS A STANDARD REFERENCE IN
MEASURING
 REFERS TO HOW WE PERCEIVE OR JUDGE
THE SIZE OF SOMETHING IN RELATION TO
SOMETHING ELSE
 DIMENSIONAL RELATIONSHIPS OF
ELEMENTS OF AN ARCHITECTURAL DESIGN
TO A STANDARD, USUALLY HUMAN
DIMENSIONS
SCALE
FACTORS THAT AFFECT PERCEPTION OF SCALE
 ASSOCIATION WITH NATURE
 POSITION IN SPACE RELATIVE TO THE OBJECT
 EXPERIENCES
 VALUES
 SCALAR SEQUENCES
 ECONOMICS
TYPES OF SCALE
 MECHANICAL SCALE
 VISUAL SCALE
 HUMAN SCALE
TYPES OF SCALE
 MECHANICAL SCALE
- THE SIZE OR PROPORTION OF SOMETHING
RELATIVE TO AN ACCEPTED STANDARD OF
MEASUREMENT
TYPES OF SCALE
 VISUAL SCALE
- THE SIZE OR
PROPORTION AN
ELEMENT APPEARS
TO HAVE RELATIVE
TO OTHER ELEMENTS
OF KNOWN OR
ASSUMED SIZE
TYPES OF SCALE
 HUMAN SCALE
- BASED ON THE DIMENSIONS AND
PROPORTIONS OF THE HUMAN BODY
TYPES OF SCALE
 HUMAN SCALE
TYPES OF SCALE
 HUMAN SCALE
TYPES OF SCALE
 HUMAN SCALE
TYPES OF SCALE
 HUMAN SCALE
PRINCIPLES OF DESIGN
 CONTRAST
 HIERARCHY
 PROPORTION
 BALANCE
 RHYTHM
 CHARACTER
 DATUM
PRINCIPLES OF DESIGN
 CONTRAST
 JUXTAPOSITION OF ELEMENTS IN A DESIGN TO
INTENSIFY EACH ELEMENT’S PROPERTIES
a) CONTRAST OF LINE
b) CONTRAST OF FORM
c) CONTRAST OF MASS
d) CONTRAST OF COLOR
e) CONTRAST OF CHARACTER
PRINCIPLES OF DESIGN
 CONTRAST: CONTRAST OF LINE
PRINCIPLES OF DESIGN
 CONTRAST: CONTRAST OF FORM
PRINCIPLES OF DESIGN
 CONTRAST: CONTRAST OF COLOR
PRINCIPLES OF DESIGN
 CONTRAST: CONTRAST OF CHARACTER
PRINCIPLES OF DESIGN
 HIERARCHY
 DIFFERENCE IN THE DEGREE OF IMPORTANCE OF
FORMS AND SPACES
 VISUAL EMPHASIS CAN BE ACHIEVED BY:
a) EXCEPTIONAL SIZE
b) UNIQUE SHAPE
c) STRATEGIC LOCATION OR PLACEMENT
PRINCIPLES OF DESIGN
 HIERARCHY: SIZE
PRINCIPLES OF DESIGN
 HIERARCHY: SHAPE
PRINCIPLES OF DESIGN
 HIERARCHY: PLACEMENT
PRINCIPLES OF DESIGN
 BALANCE
- THE PLEASING OR HARMONIOUS ARRANGEMENT
OR PROPORTION OF PARTS OR ELEMENTS IN A
DESIGN OR COMPOSITION
- DISTRIBUTION OF VISUAL WEIGHT

PRINCIPLES OF DESIGN
 BALANCE
a) SYMMETRICAL BALANCE
b) UNSYMMETRICAL BALANCE
PRINCIPLES OF DESIGN
 BALANCE: SYMMETRICAL BALANCE
PRINCIPLES OF DESIGN
 BALANCE: ASSYMMETRICAL BALANCE
PRINCIPLES OF DESIGN
 RHYTHM
- PATTERNED REPETITION OF ELEMENTS OF A DESIGN
AT REGULAR OR IRREGULAR INTERVALS IN THE SAME
OR MODIFIED FORM
PRINCIPLES OF DESIGN
 CHARACTER
-
CHROMATIC ENERGY OF DESIGN
 COLOR
- QUALITY OF APPEARANCE OF A DESIGN WITH
RESPECT TO ITS REFLECTED LIGHT USUALLY
DETERMINED BY MEASUREMENT OF HUE, SATURATION
AND VALUE
CHROMATIC ENERGY OF DESIGN
 COLOR
a) HUE – THE COLOR
ITSELF IN PUREST FORM
b) SATURATION /
INTENSITY/ CHROMA-
PURITY OR VIVIDNESS
OF A HUE, HOW MUCH
OR HOW LITTLE GRAY
A COLOR CONTAINS
c) VALUE – LIGHTNESS OR
DARKNESS
CHROMATIC ENERGY OF DESIGN
 MONOCHROMATIC COLOR SCHEME
 USES VARIATIONS IN LIGHTNESS AND SATURATION OF
A SINGLE COLOR
 LOOKS CLEAN AND ELEGANT, SOOTHING EFFECT
CHROMATIC ENERGY OF DESIGN
 ANALOGOUS
COLOR SCHEME
 COLORS THAT ARE
IN CLOSE PROXIMITY
TO EACH OTHER ON
THE COLOR WHEEL
THAT SHARE SIMILAR
HUE AND
SATURATION
 MOST OFTEN USED
TO ACHIEVE PROPER
COLOR HARMONY.
CHROMATIC ENERGY OF DESIGN
 COMPLEMENTARY
COLOR SCHEME
 MADE OF TWO
COLORS THAT ARE
OPPOSITE EACH
OTHER ON THE
COLOR WHEEL
 INTRINSICALLY
HIGH-CONTRAST
AND DRAWS
MAXIMUM
ATTENTION
CHROMATIC ENERGY OF DESIGN
 SPLIT
COMPLEMENTARY
COLOR SCHEME
 VARIATION OF THE
STANDARD
COMPLEMENTARY
SCHEME. IT USES A
COLOR AND THE TWO
COLORS ADJACENT TO
ITS COMPLEMENTARY.
 PROVIDES HIGH
CONTRAST WITHOUT
THE STRONG TENSION
OF THE
COMPLEMENTARY
SCHEME
CHROMATIC ENERGY OF DESIGN
 TRIADIC COLOR
SCHEME
 USES THREE COLORS
EQUALLY SPACED
AROUND THE COLOR
WHEEL
 OFFERS STRONG
VISUAL CONTRAST
WHILE RETAINING
BALANCE, AND
COLOR RICHNESS
CHROMATIC ENERGY OF DESIGN
 TETRADIC COLOR
SCHEME OR DOUBLE
COMPLEMENTARY
SCHEME
 RICHEST OF ALL THE
SCHEMES BECAUSE IT
USES FOUR COLORS
ARRANGED INTO
TWO
COMPLEMENTARY
COLOR PAIRS
CHROMATIC ENERGY OF DESIGN
 COLOR TEMPERATURE
 WARM COLORS
 RED, ORANGE AND
YELLOW
 ASSOCIATED WITH THE
WARMTH OF FIRE AND
SUN
 COOL COLORS
 BLUE, GREEN, AND
VIOLET
 CONNECT IN THE MIND'S
EYE WITH THE COOLNESS
OF SEA, SKY, AND
FOLIAGE.
PROXEMICS
 The study of the symbolic and
communicative role of the spatial
separation individuals maintain in various
social and interpersonal situations, and how
the nature and degree of this spatial
arrangement relates to environmental and
cultural factors
PROXEMICS
 SOCIO-PETAL SPACE
 TRIGGERS
BEHAVIORS THAT
GATHER PEOPLE
TOGETHER

 SOCIO-FUGAL SPACE
 TRIGGERS
BEHAVIORS THAT
SEPARATE PEOPLE
PROXEMICS
 PRIVACY
 THE ABILITY OF AN INDIVIDUAL OR GROUPS
OF INDIVIDUALS TO CONTROL THEIR
VISUAL, AUDITORY, OLFACTORY
INTERACTIONS WITH OTHERS
 THE ABILITY TO HAVE OPTIONS AND TO
ACHIEVE DESIRED LEVEL OF INTERACTIONS
PROXEMICS
 KINDS OF PRIVACY
a) SOLITUDE: STATE OF BEING FREE FROM
OBSERVATION BY OTHERS
b) INTIMACY: STATE OF BEING WITH ANOTHER
PERSON BUT FREE FROM THE OUTSIDE WORLD
c) ANONYMITY: STATE OF BEING UNKNOWN EVEN
IN A CROWD
d) RESERVE: STATE IN WHICH A PERSON EMPLOYS
PSYCHOLOGICAL BARRIERS TO CONTROL
UNWANTED INTRUSIONS
PROXEMICS
 CROWDING
 ASSOCIATED WITH A FEELING OF LACK OF
CONTROL OVER THE ENVIRONMENT
 LEADS TO NEGATIVE BEHAVIOR BECAUSE THEY
ARE RELATED TO SOCIAL OVERLOAD
 RESULTS FROM OVERMANNING OF BEHAVIOR
SETTINGS
PROXEMICS
 DESIGN IMPLICATIONS
 NEED FOR PRIVACY
GREATER FOR INTROVERTS
THAN FOR EXTROVERTS
 EXTROVERTS LIKE
CONTRAST WITH THE
ENVIRONMENT
 INTROVERTS LIKE
COURTYARDS
PROXEMICS
 DESIGN IMPLICATIONS
 EXTROVERTS LIKE
STRONG CENTRAL
PLANS
 INTROVERTS LIKE
COMPLEX INTERNAL
RELATIONSHIPS AND
CLEAR TERRITORIAL
PATTERNS
 PEOPLE UNDER STRESS
NEED MORE PRIVACY
FOR WORKPLACES
SPACES
 PERSONALIZATION
 STAKING CLAIMS TO PLACES
 MANIFESTATION OF DESIRE
FOR CONTROL AND
EXPRESSION OF AESTHETIC
TASTES
 EFFORT TO MAKE AN
ENVIRONMENT FIT ACTIVITY
BETTER
 DONE FOR PSYCHOLOGICAL
SECURITY
SPACES
 TERRITORIALITY
 A DELIMITED SPACE
THAT A PERSON OR
A GROUP USES AND
DEFENDS AS AN
EXCLUSIVE PRESERVE
 INVOLVES
PSYCHOLOGICAL
IDENTIFICATION WITH
A PLACE
SPACES
 BASIC CHARACTERISTICS OF TERRITORIES
 OWNERSHIP OF AND RIGHTS TO A PLACE
 PERSONALIZATION OF MARKING OF AN AREA
 DEFENSE AGAINST INTRUSIONS
 SERVE FUNCTIONS RANGING FROM PHYSIOLOGICAL
TO SELF-ACTUALIZATION
THEORIES OF PERCEPTION
 COGNITION
 THE MENTAL PROCESS BY WHICH
KNOWLEDGE IS ACQUIRED

 SYMBOLS
 SOMETHING THAT REPRESENTS SOMETHING
ELSE BY ASSOCIATION, RESEMBLANCE, OR
CONVENTION

 SEMIOTICS
 THE SCIENCE OF SIGNS
THEORY OF NEEDS
 MASLOW’S HIERARCHY OF NEEDS
 PEOPLE MAKE CHOICES ACCORDING TO DIFFERENT
LEVELS OF NEEDS

Affiliation
BEHAVIOUR SETTINGS
 THEORIZED ENTITIES THAT HELP EXPLAIN THE
RELATIONSHIP BETWEEN INDIVIDUALS AND THE
ENVIRONMENT - PARTICULARLY THE SOCIAL
ENVIRONMENT.
BEHAVIOUR SETTINGS
 STABLE COMBINATIONS OF ACTIVITY AND
PLACE CONSISTING OF:
a) A STANDING PATTERN OF BEHAVIOR (SPB)
b) A MILIEU OR ENVIRONMENT/ PHYSICAL SUPPORT
c) A RELATIONSHIP BETWEEN THE SPB AND MILIEU
d) A SPECIFIC TIME PERIOD
BEHAVIOUR SETTINGS
 RATIONALE FOR DESIGNING SPACES
 TO PROVIDE FOR SOME EXISTING OR POTENTIAL SET
OF HUMAN ACTIVITIES.

GROSS
GENERAL SPECIFIC
NEED MOTOR
ACTIVITY ACTIVITY
ACTIVITY

Self- Esteem Study Read Sit/ Hold a book

Social Acceptance Interaction Attend Party Dance

DESIGN STAGES
a) INITIATION: PROJECT IDENTIFICATION

b) PREPARATION: COLLECTION AND ANALYSIS

OF INFORMATION

c) PROPOSAL-MAKING: SYNTHESIS, BRINGING

TOGETHER A VARIETY OF CONSIDERATIONS

d) EVALUATION: BASED ON GOALS

e) ITERATION: CYCLES, FEEDBACK

ARCHITECTURAL PROGRAMMING
 PROCESS OF MANAGING INFORMATION

 THE GATHERING, ORGANIZING, ANALYZING,

INTERPRETING AND PRESENTING OF THE
INFORMATION RELEVANT TO A DESIGN
PROJECT
ARCHITECTURAL PROGRAMMING
 TWO DIVISIONS OF A PROGRAM:

a) ISSUE-BASED PROGRAM: ANALYSIS OF THE

EXISTING STATE

b) REQUIRED STATE PROGRAM: PROJECTION OF

WHAT THE FUTURE STATE SHOULD BE
ARCHITECTURAL PROGRAMMING
 PARTS OF AN ISSUE-BASED PROGRAM
ARCHITECTURAL PROGRAMMING
 PARTS OF A REQUIRED STATE PROGRAM

a) THE DESIGN PHILOSOPHY

b) THE DESIGN PROBLEM

c) THE OVERALL CONCEPT AND CONCEPT

BREAKDOWN

d) THE TRANSLATION GUIDELINES