THEORY – ABSTRACT THOUGHT OR SPECULATION; 2.

WALL PLANE
BASIS OF ACTION 3. BASE PLAN

TYPES: CORTILE – PRINCIPAL COURTYARD OF AN ITALIAN

PALAZZO
1. DESCRIPTIVE – EVENTS OR PHENOMENA
2. PRESCRIPTIVE – PRESCRIBES GUIDELINES FORM – FORMAL STRUCTURE OF WORK
ARTICULATION – METHOD/MANNER OF JOINTING
WHAT IS ARCHITECTURE?
FORM ARTICULATION – ARRANGING AND
- ART AND SCIENCE OF DESIGNING AND COORDINATING THE ELEMENTS AND PARTS OF A
CONSTRUCTING BUILDINGS COMPOSITION TO PRODUCE A COHERENT IMAGE
ART – SKILL, CRAFT, AND CREATIVE IMAGINATION VISUAL PROPERTIES OF FORM:
SCIENCE – BODY OF FACTS, TRUTH
1. SHAPE – OUTLINE OR SURFACE
ARCHITECTURAL SYSTEMS: CONFIGURATION OF A FORM
2. SIZE – PHYSICAL DIMENSIONS OF LWD
SPATIAL SYSTEM
3. TEXTURE – VISUAL AND TACTILE QUALITY OF A
STRUCTURAL SYSTEM
SURFACE
ENCLOSURE SYSTEM
4. COLOR – LIGHT AND VISUAL PERCEPTION –
CIRCULATION SYSTEM
HUE, SATURATION, TONAL VALUE
CONTEXT
PARTS (COLOR):
ARCHITECTURAL ORDERS:
1. HUE – COLOR
1. PHYSICAL
2. VALUE – HOW LIGHT OR DARK THE COLOR IS
2. PERCEPTUAL – SENSORY PERCEPTION;
3. TEMPERATURE – WARMTH OR COOLNESS
PHYSICAL ELEMENTS
4. INTENSITY – DULL TO VIVID; CHROMA AND
3. CONCECPTUAL – ORDERED AND DISORDERED
SATURATION
RELATIONSHIP AMONG BUILDINGS – THE
5. TINTS – WHITE
MEANINGS THEY EVOKE
6. SHADES – BLACK
DESIGN PROCESS: 7. TONES – GRAY
8. ACHROMATIC – GRAYSCALE
- PURPOSEFUL ACTIVITY – DEVISING A PLAN
RELATIONAL PROPERTIES OF FORM:
DESIGN PHASES:
1. POSITION – LOCATION RELATIVE TO ITS
1. INITIATION – IDENTIFYING A PROBLEM ENVIRONMENT
2. PREPARATION – COLLECTING AND ANALYZING; 2. ORIENTATION – DIRECTION OF A FORM
ESTABLISHING GOALS 3. VISUAL INERTIA – DEGREE OF
3. SYNTHESIS – DISCOVERING CONSTRAINTS CONCENTRATION AND STABILITY OF A FORM
AND OPPORTUNITIES
4. EVALUATION – SIMULATING, TESTING, AND CIRCULATION – PASSAGE OF PERSONS OR THINGS
MODIFYING
ELEMENTS:
5. ACTION – SELECTING AND IMPLEMENTING
6. REEVALUATION – ASSESSING HOW THE 1. APPROACH – DISTANT VIEW; FIRST PHASE
SOLUTION SATISFIES THE GOALS AND a. FRONTAL
CRITERIA b. OBLIQUE
c. SPIRAL
ELEMENTS OF ARCHITECTURE AND PRINCIPLES OF
2. ENTRANCE – OUTSIDE TO INSIDE
DESIGN
a. FLUSH
PRIMARY ELEMENTS OF DESIGN: b. PROJECTED
c. RECESSED
1. POINT – MARKS A POSITION IN SPACE; PRIME
ELEMENT; NO LWD CONFIGURATION OF PATH – SEQUENCE OF SPACES
2. LINE – EXTENDED POINT; HAS L; NO WD
PATH – LINEAR IN NATURE
a. LINEAR ELEMENTS – HAS MATERIAL
STRENGTH – STRUCTURAL KINDS OF CONFIGURATION:
FUNCTIONS
3. PLANE – EXTENDED LINE; HAS LW; NO D 1. LINEAR – CAN BE CURVILINEAR OR
a. SHAPE – PRELIMINARY SEGMENTED; HAS NODES; PRIMARY
CHARACTERISTIC ORGANIZING ELEMENT
b. SURFACE, COLOR, PATTERN, 2. RADIAL – LINEAR PATHS EXTENDING FROM OR
TEXTURE – SUPPLEMENTARY TERMINATING AT A CENTRAL COMMON POINT
PROPERTIES THAT AFFECTS VISUAL 3. SPIRAL – SINGLE CONTINUOUS PATH THAT
WEIGHT AND STABILITY ORIGINATES FROM A CENTRAL POINT AND
4. VOLUME – PLANE EXTENDED; HAS LWD REVOLVES AROUND IT
a. FORM – PRIMARY CHARACTERISTIC 4. GRID – TWO SETS OF PARALLEL PATHS THAT
b. VOLUMETRIC ELEMENTS – BUILDING INTERSECT AT REGULAR INTERVALS AND
FORMS THAT STAND AS OBJECTS IN CREATE SQUARE OR RECTANGULAR FIELDS
THE LANDSCAPE OF SPACE.
a. CUADRICULA – SYSTEM OF STREETS
PLANAR ELEMENTS: AND BLOCKS LAID OUT IN GRIDIRON
FORM; MAXIMIZING SPACE AND
1. OVERHEAD PLANE
 SUPERVISION OF COLONIAL e. ARAEOSTYLE
SUBJECTS D. MODULOR – LE CORBUSIER – THE
5. NETWORK – PATHS THAT CONNECT DIMENSIONS OF THAT WHICH CONTAINS AND
ESTABLISHED POINTS IN SPACE; SCATTERED; THAT WHICH IS CONTAINED; MAINTAIN THE
CLUSTERED HUMAN SCALE EVERYWHERE
6. COMPOSITE – COMBINATION OF THE
PRECEDING PATTERNS; HIERARCHICAL BASIC GRID 3 MEASUREMENTS: 113, 70, 43 CM
ORDER TO AVOID DISORIENTING MAZE
E. ANTHROPOMETRY – MEASUREMENT OF THE
PATH SPACE RELATIONSHIPS: SIZE AND PROPORTIONS OF THE HUMAN
BODY
- EDGES a. AVERAGE DIMENSIONS = VARIATIONS
- NODES FROM THE NORM
- TERMINATION OF THE PATH F. ERGONOMICS – APPLIED SIENCE THAT
COORDINATES THE DESIGN OF DEVICES,
1. PASS BY SPACES SYSTEMS, AND ENVIRONMENTS WITH OUR
i. INTEGRITY IS MAINTAINED PHYSIOLOGICAL AND PSYCHOLOGICAL
ii. FLEXIBLE CAPACITIES AND REQUIREMENTS
iii. MEDIATING SPACES – LINK PATH WITH a. STATIC
THE SPACES b. DYNAMIC
2. TERMINATE IN A SPACE c. BASED ON SOCIAL DISTANCES AND
i. LOCATION OF THE SPACE ESTABLISHES PERSONAL SPACE
THE PATH
ii. APPROACH AND ENTER FUNCTIONALLY SCALE – THE SIZE OF SOMETHING SOMPARED TO A
OR SYMBOLICALLY IMPORTANT SPACES REFERENCE STANDARD OF TO THE SIZE OF
SOMETHING ELSE.
FORMS OF THE CIRCULATION SPACE – BOUNDARIES
ARE DEFINED TYPES:

- CORRIDORS, HALLS, GALLERIES, STAIRWAYS, • VISUAL SCALE – REFERS TO HOW SMALL OR

ROOMS LARGE SOMETHING APPEARS TO BE IN
RELATION TO ITS NORMAL SIZE OR TO THE
CIRCULATION SPACE: SIZE OF OTHER THINGS IN ITS CONTEXT.
• HUMAN SCALE – BASED ON THE DIMENSIONS
1. ENCLOSED – LINKS THROUGH ENTRANCES IN AND PROPORTIONS OF THE HUMAN BODY
A WALL PLANE
2. OPEN ON ONE SIDE – FORMING A BALCONY CONTRAST – OPPOSITION OR JUXTAPOSITION OF
OR GALLERY THAT PROVIDES VISUAL AND DISSIMILAR ELEMENTS IN A WORK OF ART TO
SPATIAL CONTINUITY WITH THE SPACES IT INTENSIFY EACH ELEMENT’S PROPERTIES AND
LINKS PRODUCE MORE DYNAMIC EXPRESSIVENESS;
3. OPEN ON BOTH SIDES – FORMING A CREATES VISUAL VARIETY, EXCITEMENT, INTEREST
COLONNADED PASSAGEWAY THAT BECOMES A (PARA DILI BORING)
PHYSICAL EXTENSION OF THE SPACE IT
PASSES THROUGH VISUAL VARIETY:

PRINCIPLES OF DESIGN - SIZES

- MATERIALS, TEXTURES, COLORS
DESIGN – CREATION AND ORGANIZATION OF FORMAL - MANIPULATING LIGHT, SHADE, AND SHADOW
ELEMENTS IN A WORK OF ART OF MASSES

DESIGN PRINCIPLE – FUNDAMENTAL AND BALANCE – STATE OF EQUILIBRIUM; PLEASING OR

COMPREHENSIVE CONCEPT OF VISUAL PERCEPTION HARMONIOUS ARRANGEMENT OR PROPORTION OF
FOR STRUCTURING AND AESTHETIC COMPOSITION PARTS OR ELEMENTS IN A DESIGN OR COMPOSITION

PROPORTION – PROPER HARMONIOUS RELATION OF • SYMMETRY – EXACT CORRESPONDENCE IN

ONE PART TO ANOTHER OR TO THE WHOLE SIZE, FORM, AND ARRANGEMENT OF PARTS
ON OPPOSITE SIDES
PROPORTIONING SYSTEMS:
TYPES:
- VISUALLY UNIFY
- SENSE OF ORDER 1. BILATERAL – BALANCED ARRANGEMENT OF
- CONTINUITY OF THE SEQUENCE OF SPACES SIMILAR OR EQUIVALENT ELEMENTS ON
- RELATIONSHIPS BETWEEN EXTERIOR AND OPPOSITE SIDES
INTERIOR 2. RADIAL – BALANCED ARRANGEMENT OF
A. GOLDEN SECTION – THE RATION BETWEEN SIMILAR RADIATING ELEMENTS SUCH THAT
TWO SECTIONS OF A LINE OR THE TWO THE COMPOSITION CAN BE DIVIDED INTO
DIMENSIONS OF A PLANE FIGURE SIMILAR HALVES
B. CLASSICAL ORDERS – DIAMETER OF THE
COLUMNS HIERARCHY – ARTICULATION OF THE IMPORTANCE OR
a. GREEK: IONIC, DORIC, CORINTHIAN SIGNIFICANCE OF A FORM OR SPACE
b. ROMAN: TUSCAN, COMPOSITE
• VISUAL EMPHASIS: SIZE, SHAPE,
C. INTERCOLUMNIATION
LOCATION/PLACEMENT
a. PYCNOSTYLE
b. SYSTYLE RHYTHM – PATTERNED REPETITION OR ALTERATION
c. EUSTYLE OF FORMAL ELEMENTS/MOTIFS
d. DIASTYLE
ALINEAR PATTERN – SIMPLEST FORM 5. RENAISSANCE – REBIRTH OF CLASSICAL ART
AND LEARNING IN EUROPE; CLASSICAL
REPETITION – ACT OR PROCESS OF REPEATING ORDERS, ROUND ARCHES, SYMMETRICAL
FORMAL ELEMENTS PROPORTIONS
6. BAROQUE – MORE ORNATE THAN
- SIZE
RENAISSANCE; ATTEMPT TO IMPRESS. LAVISH
- SHAPE
OF ALL STYLES
- DETAIL CHARACTERISTICS
7. ROCOCO – FINAL PHASE OF THE BAROQUE;
DESIGN PERCEPTION: PROFUSE, SEMI-ABSTRAT ORNAMENTATION;
LIGHTNESS SWIRLING FORMS, FLOWING
SPACE – 3D FIELD IN WHICH OBJECTS AND EVENTS LINES, ORNAT STUCCO WORK, ARABESQUE
OCCUR AND HAVE RELATIVE POSITION AND ORNAMENT
DIRECTION 8. NEOCLASSICISM – MONUMENTALITY, STRICT
USE OF ORDERS; SPARING APPLICATION OF
SPATIAL RELATIONSHIPS: ORNAMENT
9. EXPRESSIONISM – FUNCTIONAL
1. SPACE WITHIN AN SPACE- ENVELOPING STRUCTURES; SCULPTURAL OBJECTS
SPACE SERVES AS A 3D FIELD FOR THE 10. ART NOUVEAU – FLUID UNDULATING MOTIFS,
SMALLER SPACE CONTAINED WITHIN IT NATURAL FORMS
2. INTERLOCKING SPACES – OVERLAPPING OF 11. ART DECO – STYLE MODERNE; GEOMETRIC
TWO SPATIAL FIELDS; SHARED SPACE MOTIFS, STREAMLINED, CURVILINEAR FORMS;
3. ADJACENT SPACES – COMMON TYPE; BOLD COLORS
CLEARLY DEFINED 12. INTERNATIONAL STYLE – FUNCTIONAL
4. SPACES LINKED BY A COMMON SPACE – TWO ARCHITECTURE DEVOID OF REGIONAL
SPACES SEPARATED BY DISTANCE LINKED BY CHARACTERISTICS; SIMPLE GEOMETRIC
A THRID INTERMEDIATE SPACE FOMRS, LARGE UNTEXTURED WHITE
SPATIAL ORGANIZATION: SURFACES, LARGE AREAS OF GLASS, USE OF
STEEL OR REINFORCED CONCRETE
1. CENTRALIZED – STABLE; CONCENTRATED 13. BAUHAUS – SYNTHESIS OF TECHNOLOGY,
COMPOSITION CRAFT, DESIGN AESTHETICS; FUNCTIONAL
2. LINEAR – SERIES OF SPACES DESIGN
3. RADIAL – CENTRALIZED AND LINEAR 14. BRUTALISM – CAST-IN-PLACE CONCRETE; NO
ORGANIZATIONS; EXTEND IN A RADIAL APPARENT CONCERN FOR VISUAL AMENITY
MANNER 15. POST-MODERNISM – REACTION AGAINST
4. CLUSTERED – RELIES ON PHYSICAL INTERNATIONAL STYLE AND MODERNISM;
PROXIMITY; REPETITIVE CELLULAR SPACES HISTORICAL VERNACULAR STYLES
5. GRID – FORMS AND SPACES WHOSE 16. ORGANIC ARCHITECTURE – EXPRESSION OF
POSITIONS IN SPACE AND RELATIONSHIPS PERSONAL FREEDOM; HARMONY BETWEEN
ARE REGULATED BY 3D GRID PATTERN/FIELD STRUCTURE AND ENVIRONMENT; NATURAL
USE OF MATERIALS
PROXEMICS – PERSONAL DISTANCE; VARIABLE AND 17. DECONSTRUCTION/DECONSTRUCTIVISM –
SUBJECTIVE DISTANCE – COMFORTABLE NEO-MODERN/POST-STRUCTURALISM;
EXTREME AND EXAGGERATES ALREADY
LEVEL OF DISTANCES: KNOWN MOTIFS
18. EVOLUTIONARY ARCHITECTURE – EUGENE
1. INTIMATE – 0-18 INCHES (450 MM)
TSUI; GROWS AND DEVELOPS BASED ON
2. PERSONAL – 18 INCHES – 4 FT (450 MM – 1.20
CLIMACTIC AND ECOLOGICAL ELEMENTS;
M)
LIVING ORGANISMS
3. SOCIAL – 4-10 FT (1.20-3.00 M)
19. CONCEPTUAL ARCHITECTURE –
4. PUBLIC – 10 FT – INFINITY (3 M – BEYOND)
INVISIBLE/IMAGINARY; NEVER BEEN
SEMI-FIXED FEATURE SPACE: CONSTRUCTED; PURE
RESEARCH/SPECULATION
1. SOCIOPETAL – BRING PEOPLE TOGETHER
2. SOCIOFUGAL – KEEP PEOPLE APART;
DISCOURAGE CONVERSATIONS

ARCHITECTURAL STYLES – DISTINCTIVE FORM OF

ARTICTIC EXPRESSION

1. MOORISH – SPAIN AND MOROCCO;

MESOPOTAMIAN BRICK AND STUCCO
TECHNIQUES; HORSESHOE ARCH AND ROMAN
COLUMNS AND CAPTIALS
2. CLASSICAL – GREEK AND ROMAN
ARCHITECTURE; CLASSICAL ORDERS
3. ROMANESQUE – ROMAN AND BYZANTINE
ELEMENTS; MASSIVE ARTICULATED WALL
STRUCTURES, ARCHES, AND POWERFUL
VAULTS
4. GOTHIC – REVOLUTIONARY STYLE OF
CONSTRUCTION; ROMANESQUE AND
BYZANTINE FORMS; HEIGHT AND LIGHT,
SKELETAL STRUCTURES; EVER INCREASING
WINDOWS