VCOM 103

Architectural Visual
Communication 3 – Graphics 2

PRESENTER NAME

D AT E
Ar. John Virgo E.
Corpuz
presenter
Master Architects
The role architecture plays in our daily lives is infinite, diverse, and
unimaginative. From the specifications of “Noah’s Arch”, to Khufu’s
pyramids, to the Inca’s of Machu Pichu, down to Zaha Hadid’s Heydar
Aliyev Centre. Those architects and builders will always inspire the future
designers.

Five architects who exceptionally demonstrated their craftsmanship

from utilizing indigenous architecture to the most innovative design
blended in the natural environment are as follows:

1. Frank Gehry (2.28.1929): His works, as they are the most distinctive,
and innovative architectural phenomena around. His deconstructive
styles are emblematic as visitors flock to all of his buildings around the
world to marvel at the architectural forms he makes. Named Vanity Fair
as the "most important architect of our century," it has given priority to
contemporary architecture. His ability to construct spaces that
manipulate shapes and textures is his most impressive feats. His most
notable projects include: The Walt Disney Concert Hall in Los Angeles,
The Guggenheim Museum in Bilbao, Der Neue Zollhof in Düsseldorf and
the Marqués de Riscal Vineyard Hotel in Elciego.

2. Frank Lloyd Wright (6.8.1867): He is considered to be the greatest

3. Ieoh Ming Pei – I.M. Pei (4.26.1917): He is a Chinese born
architect who study architecture in the United States and
became one of the greatest architects of modern architecture.
For almost 80 years, I.M. Pei's masterpiece can be seen all over
the world and is noted for the innovative use of geometric
shapes and the integration of Chinese influences into his work.
His National Center for Atmospheric Research in Colorado
embodies Pei's classic geometric shapes and the unity of natural
elements in their surroundings. 3 His most notable projects
include: John F. Kennedy Presidential Library and Museum in
Boston, The National Gallery of Art in Washington D.C., Le
Grand Louvre (The Pyramid) in Paris, The Bank of China Tower
in Hong Kong and the Museum of Islamic Art in Doha.

4. Zaha Hadid (0.31.1950): She was the first woman architect

who ever won the Pritzker Architecture prize. She was born in
Iraq. Her works structural forms has the characteristics of
futuristic, unconventional, daring and artistic sense. Although
many of her projects were never built, she still was included in
ranked on Forbes list of 69th most powerful women in 2008.
Her building always fascinated people and wondered how she
ever built those. Her most noted projects are: MAXXI – the
National Museum of the 21st Century Arts the Bridge Pavilion
in Zaragoza, Bergisel Ski Jump in Innsbruck, Phaeno Science
Center and the Opera House in Guangzhou.
Isms of Architecture Style is the result to a culture and
can be viewed as a kind of popular trend. In architecture,
as in many other cultural art forms, these styles are
referred to as ‘isms’. Example is “Classicism”, it is a style
informed by classical architecture and culture. Similarly,
modernism was influenced by modern culture of the
1920s and 1930s. There are variations in the elements
and characters attached to these styles. Some are distinct,
and others are less obvious. The most important is the
appreciation of the affect that each ‘ism’ has on
succeeding styles and to recall that all design comes from
an understanding of precedent, whether historic, cultural
or social. The development of originality of design comes
from its application and timing in contemporary culture:
its appropriateness for now. The question of style is a
difficult issue for architecture generally, as it has aesthetic
as well as functional parameters. Aside from classicism,
other examples are as follows:

1. Functionalism - ‘Form follows function’ was a phrase

popularized by American architect Louis Sullivan. It
followed the principle that the type of any building should
be determined by the activities and purposes to be carried
out within it, rather than by any historical precedent or
2. Modernism - Modernism has larger scope of architectural influence in the
twentieth century and, as its name suggests, the modernist movement
embraced the moment. Modernism integrated a dynamic concepts that
brought together political, social and cultural breakthrough. Most expressive
minimal and organic styles refer to modernism in some way.

Modernist architecture is a term given to a variety of architectural styles

with common features, in particular the simplification of form and the absence
of ornaments, which were first produced about 1900. Modernist architects
responded to the ideas of 'shape after function' and 'ornament as a crime' and
their architecture, embracing forms derived from the response to functions or
events within buildings, and leaving buildings free of any ornament, creating
characteristically clean white spaces. By the 1940s, these styles had been
consolidated and became the dominant architectural style for institutional and
corporate construction for many decades in the twentieth century.

The Modernist Founders

By the 1920s, the most influential figures in modern architecture had
established their prestige. The three 'founders' are generally known as Le
Corbusier in France and Ludwig Mies van der Rohe and Walter Gropius in
Germany. Mies van der Rohe and Gropius were also directors of the Bauhaus
School (1919–1938), one of the few European schools and organizations
dealing with reconciling traditional craft and industrial technologies.

The Bauhaus was one of the most influential architectural, art and design
Monumentalism - A monumental building has significance beyond its shape
and purpose. It can be monumental both in its size and in terms of what it
stands for. Monuments have been designed to celebrate significant
occasions and individuals for decades. Some of these buildings still survive
and are part of our society today; thought, perhaps, of Stonehenge or the
pyramids of Giza. Buildings that are more than synonymous with their
purpose, maybe a city or a society, may be defined as monumental.

a. Dual Purpose - Any buildings have become associated with their place and
their name. The White House in Washington, Buckingham Palace in London
or the Musée du Louver in Paris, for example, may be thought of as a
building or structure synonymous with any big city. Many of these buildings
have significance associated with them beyond architecture. They became
the symbols of their venue.

There is another, more recent, concept of a structure or room that

functions as a memorial and often celebrates a significant event or is a
venue for public activities (and/or has a cultural or national significance).
Examples include Times Square, the Sydney Opera House, the Eiffel Tower
and Trafalgar Square. Such buildings or spaces can be defined as having a
dual purpose.

b. Parliament Buildings - Parliament buildings often fall under the category

of monumental architecture as they have a national symbolism and are
frequently related to a cultural identity. The new building of a parliament
Zeitgeist – A German term zeitgeist refers to the
spirit of a time. In terms of design this is
constantly changing and shifting notion. The
zeitgeist naturally develops as it responds to
current social and cultural phenomena.

At the beginning of the twentieth century,

architecture responded to modernist principles
and methods. Modernist architecture and the use
of textures and shapes emerged in Europe and,
while not applicable in all contexts, had enormous
impact in other regions of the world. The idea of a
'universal' style was based on the premise that
style or fashion may occur across a wide spectrum
of cultures and have no borders. One of the
benefits of the international style was that
architecture solutions were oblivious to place,
location and environment. This was one of the
reasons it was named 'international;' the theme
did not apply to local or national history. Later,
this was described as one of the key drawbacks of
the style. However, others have modified the
modernist style to fit local requirements.
Examples of this are the architecture of Oscar
Niemeyer in Brazil and the work of Luis Barragan
• Context for concept getting
For every design problem, the basic consideration and first appear on the surface will always be
the user, the site, the building typology or its function. Before starting with the programming, let us
recall that the view of the total design context will always differ due to the reasons that it will depend
on designer’s general philosophy and life values, his design philosophy, and how he view the problem.
The following are the contexts for concept getting:

Function – this context is about activity grouping and zoning. All the existing conditions will be
considered. This is planning for functional and efficient arrangement of spaces. The purpose of each
space, the building, the users’ goal, routine and feelings towards space should all be considered. In
this context, the designer will be deciding for the need for adjacency and proximity. Activity will be
analyzed for effective linkages of the sequence of users movement. A bubble diagram and/ or matrix of
spaces will be of great help to determine which space to separate or be linked.

Space – is the volume required by activities. Space includes the stage of human life, the speed of our
activities, the length of our encounters. Wallace Stevens' poem, The Snow Man, ends with what might
be a good example of the difference between a vacuum and what might be called an architectural
space: "... nothing that isn't there and nothing that is there." If the vacuum is the nothingness that is
missing, space could be understood as the nothingness that is there. Space is the response after
programming the function. Physical space is the result and interpretation of sizes and dimensions
required by users to achieve comfort, security, productivity and other positive experiences while
performing the basic purpose in a building.
Context – this pertains to site and climate. Architecture may be seen as an instrument that
consciously engages or takes advantage of environmental elements, either by passive or dynamic
means. A building resides in and communicates with the world on several scales—from cellular to
infrastructural—and the concept of the environment is important in defining its relationship and
contribution to architecture. Each architecture should foresee not only its effect on the climate, but
also the changes in environment brought about by the built environment. Site is an important
consideration that will greatly influence the building and the users. Natural environment cannot be
expected to be ready and appropriate for man’s activities.

Systems – this refers to mechanical, electrical, and other utility services. The design for services will
only be formulated after critical analysis of the site context, number of users or density, services and
building requirement and other factors. Being in a tropical country needs a careful planning for supply
and distribution of services to reduce energy consumption. Extreme climate may be sometimes
advantageous or disadvantage depending on nature of the protect and type of occupancy. Concern for
environment should always be taken into consideration.

Human Factors – these are the perceptions, behavior, reactions, and experiences of users when they
are in a particular space. These also includes the image or the character that they want their building
to project and eventually be associated to them. The impression in both interior and exterior of the
building will matter. The image express will mostly be influenced by the physical appearance, forms,
direction, materials, followed by the users’ testimonies. The exterior of a building is essentially its face
to the public, its civic shield. Just as the first impression is often drawn from the expressiveness of the
face, the vertical surfaces of the building are typically the first, most communicative component of the
architecture of the structure. For that matter, there are architectural characters being associated
directly to specific building typologies.
Economic – this pertains to the design budget, materials and construction cost, including purchase of
lot, building maintenance, purchase of furniture and equipment, cost for continuous improvements,
etc. In connection with the context discussed earlier, this context of economics greatly influence in the
programming and design of systems, space and human factors. To achieve the programmed
architectural character, material finishes and methodology will play a vital role, whether the style is of
conventional or high-end type. For example, materials bear meaning through the embodiment of
traditional building materials, methodologies and rituals, as well as through the less concrete
dimensions of the uniqueness of the place, program and culture. The use of materials by the architect
has a significant influence on both the form of the work and its acceptance by the public.

Enclosure – are the structure, enclosing planes and openings. It is a basic framework in the structure
that envelops the spatial configurations. Via the utilization of simple geometric entities—points,
angles, planes, and volumes—architecture organizes the programming across a rich continuum of
expressions, ranging from complex to straightforward and direct. From an architectural science point
of view, the enclosure is both abstract and definite requirement for the successful isolation of internal
space from site context. For buildings to achieve reasonable, ideally effective circulation from their
envelopes or skins, all of the components must be thoroughly investigated.

Geometry – are the circulation, form and image of the building. Movement through a building or a
city is a way of organizing one’s experience. It is similar to orienting the body in relationship to
something outside of space. And while architectural and urban form and space are typically infinite, it
is the designer’s intention to secure and designate a specific ground for activities. A knowledge of
geometry not only provides the architect with the ability to represent and communicate basic ideas,
but it is also an essential aspect of understanding the genuine and illusionistic aspects of architectural
space, for calculating the actual surface areas and volumes being described, and for describing the
• Functional concepts and the Interior Environment
Functional Concepts
Since ancient times, the significance of function has been enshrined in architecture. The
importance of function in architectural design can be found as early as Vitruvius' Ten Books on
Architecture, a 2,000-year-old treatise. One of the three basic components of architecture, according
to Vitruvius, is utilitas — Latin for "usefulness." The other two are firmitas (durability) and venustas
(beauty). To put it another way, architecture must serve a functional purpose. Below are five distinct
types of function that will creatively and skillfully develop architectural programming and designing.
1. Use and user function. The word "function" may refer to the intended uses and activities. In a
nutshell, this is what architects refer to as a program. It's the human’s routine, experiences, being
productive inside and outside the space. A building's location, shape, and features must reflect its
intended usage, and the people who use it while allowing for potential changes or improvements.
2. Technical function The role of architecture is based on structural and mechanical systems. These
systems, in turn, respond to the site's program, and building technology constraints. Architects
must have a detailed understanding of the physical processes that sustain the building's
construction and operation.
3. Environmental function. The role of architecture can also be viewed from the outside, as a
response to the surrounding environment and context. The enclosure structure of a building should
be regulated, like the effects of the sun, rain, dust, and other elements. A well designed building
envelope will lower the amount of energy necessary to maintain a comfortable interior while also
lowering the owner's maintenance costs. In this way, functional design and sustainable design are
integrated.
4. Economic function. For both large corporations and individual owners, a functionally optimal
5. Symbolic function. Some functions are unable to be quantified or represented in merely forms or
character, but they must not be neglected. This is the case with civic and cultural projects that are
intended to represent a community's or nation's history, traditions, and identity. A city hall for instance
is the government structure intended for public service. An embassy is a diplomatic mission that
represents one country to another. Great public spaces and religious institutions help to bring people
together and, as a result, to make the concept of social harmony apparent. Designers must ensure that
it is not enough to have the character but to plan spaces both interior and exterior that will
accommodate the public.

o Environmental Considerations and Human Comfort

The standards for achieving optimum comfort are subjective, and they vary from person to
person, site to site, culture to culture, as well as the current building design codes.
Nonetheless, these parameters are all interconnected and share similar
environmental influences, such as:

1. Air Temperature The food we consume fuels our bodies' metabolism, which creates heat that we
must dissipate at a certain pace to maintain our level of comfort. Physical exercise increases the
amount of metabolic heat lost, while inactivity decreases it. We can lose heat in one of three ways:
convection (heat is transferred through the flow of a liquid or gas), radiation (heat is transferred
through electromagnetic waves from one surface to a colder surface), or evaporation (heat is
transferred through the flow of a liquid or gas) (absorbed by perspiration). The sense of thermal
comfort is determined by many primary influences, one of which is air temperature. Being in a
tropical country with extreme climate, air temperature must be taken into consideration and plan
for appropriate solutions, may it be in mechanical systems or the use of passive colling design
2. Relative Humidity Another significant comfort parameter is relative humidity, which is defined as
the percentage of moisture in the air compared to the maximum amount of moisture the air can carry
without condensing at a given temperature. In an overheated room, high humidity levels worsen the
discomfort. “In a cold space, dampness is an adverse factor in that it decreases the insulation of our
clothing, though the impact is minor,” writes Esmond Reid in his book Understanding Buildings—A
Multidisciplinary Approach. More specifically, our ability to perspire is based on a vapor pressure
differential between our skin and the surrounding air. At 50 degrees Celsius, 50% relative humidity
would be optimal. Comfortable relative humidity levels range between 30-65 percent, and tolerable
ranges between 20-70 percent. The above demonstrates that in overheated conditions, relative
humidity and our ability to perspire and cool are extremely critical. This is why humid hot climates are
much more unpleasant and difficult to cope with than arid hot climates.

3. Air Movement Via convection, air movement increases evaporation and heat loss, reducing comfort
in an under-heated environment and increasing comfort in an overheated room. Air movement will
assist in preserving our comfort level in overheated rooms by rising the rate of heat convection from
our skin and promoting perspiration evaporation. Therefore, in hot weather, a breeze decreases the
effective temperature and helps you feel more relaxed.

4. Sound and Noise Control As we witness the rapid chaos of the conventional workplace, many
firms are struggling to adapt to emerging developments such as downsizing, outsourcing, and the
open-plan world. America adopted his rapid shift in corporate offices from a conventional closed office
setting to an open plan office environment, and it has raised new and unparalleled challenges for
space designers, such as increased noise, which has a negative effect on worker productivity. Noise
and weak workplace acoustics, according to some industry experts, are the number one barrier to
improving efficiency in open offices. Part of the emotional element of developing a relaxed, balanced,
Trying to construct an acceptable acoustical atmosphere in buildings with open offices can be a
challenging job for the space designer. To meet this challenge in noise reduction, many factors must
be considered, including:
1. Changing floor layouts to reduce auditory and visual disturbances while growing personal space.
2. To boost acoustics regulation and eliminate conversational noise and other auditory disturbances,
use carpet, fitting system furniture, and ceiling systems. To prevent conversational speech from
being a nuisance in the workplace, sound masking technology and equipment may be needed.
Acoustical requirements should be handled in accordance with the particular tasks to be carried
out in a given area.
3. Create environments that have the required degree of privacy for the task at hand, even to the
point of creating separate rooms for activities that require a high level of focus or secrecy and
require the most privacy.

“...properly built offices—whether closed, accessible, or mixed plan—can be designed to support a

wide variety of person and team workplace acoustical requirements,” according to a professional
paper from the ASID (and others), Sound Solutions. Such help necessitates recognition of the mix and
variety of worker duties, as well as the specific needs of employees who use specialized technologies,
room planning problems, architectural finishes and elements, furniture elements, and ambient sound
in the workplace.” “The implementation of effective methods and products for mitigating noise in the
workplace will continue to be an important part of designing,” the study will continue to be an
important part of developing and building work environments that promote and improve productivity.”
5. Ventilation The first concern for ventilation is not just supplying oxygen and extracting carbon
dioxide, despite the fact that both are important for breathing. The need for cooling as well as the
elimination of humidity, odors, and pollutants is mandatory. The amount of ventilation needed in a
room or space is determined by a variety of factors, including the room's size, purpose, and whether or
not people smoke in it. For example, a bar (where smoking is permitted) needs more ventilation than a
library (where smoking is not permitted). Building codes should be reviewed since they define
minimum ventilation standards for various types of occupancies, generally by specifying minimum
operable window areas and/or minimum mechanical ventilation and exhaust rates. Capacity is
measured in terms of fresh air circulated in cubic feet per minute, or in terms of total air changes per
hour for exhausting air using mechanical systems.

6. Thermal Radiation and Surrounding Surface Temperatures Radiation is the non-material

transfer of heat energy through electromagnetic waves. Radiation of different wavelengths, including
visible light and heat, is emitted by all living organisms. With the temperature of the source, the
strength of radiant heat rises or falls. Radiant losses from, and benefits to, the body are influenced by
surface temperatures. The body will lose heat through radiation if the surrounding area is colder than
the skin's surface temperature (typically about 85 degrees Fahrenheit); if it is hot, the body will gain
heat through radiation. Cold windows, for example, can decrease the level of comfort in a space that is
otherwise comfortable.
7. Sustainable Building Sustainable building is becoming more common, particularly in areas where
environmental hazards are present and where the most efficient building methods are concentrated.
The LEED (Leadership in Energy and Environmental Design) Green Building Rating System is now
available, providing us with yet another powerful tool to help us overcome the increasing
environmental challenges that the new millennium has brought. It is important to demystify and
simplify the process in order for a sustainable design plan to succeed. Sandra Mendler, coauthor of
The HO+K Guidebook to Sustainable Design, has accomplished this by putting together a simple list of
ten basic, but necessary, steps to implementing a sustainable design strategy. They are as follows:

1. Designing for flexibility. Future renovations can be made more waste-free by building in
flexibility with the use of modular planning. Taking into account future needs and designing for
future growth often saves money.
2. Maximizing the use of natural daylight. Develop room layout to optimize natural light access
and eliminate enclosed spaces like walled offices on the perimeter. To optimize daylight delivery,
select light-colored finishes. Internal window shading devices that contribute to energy efficiency
and daylighting strategies should be listed.
3. Setting high lighting efficiency standards. High-efficiency lights, reflectors, and ballasts, as
well as a mix of task and reduced ambient lighting and smart controls like occupancy sensors and
daylight dimming, will help you save a lot of energy. Exit lights should be light-emitting diodes
(LEDs). As a source of ambient light, introduce daylight into building interiors.
4. Designing for good indoor air quality. The configuration of the base building HVAC system
defines ventilation rates; however, interior designers can look into updating systems where
necessary to meet current requirements. Develop a space plan to isolate possible contamination
sources, such as print rooms and food service areas. To restrict the introduction of contaminants
into the house, carefully choose building materials.
6. Specifying energy-efficient and water saving appliances. Encourage the use of energy-efficient
copiers, fax machines, computers, and printers from the.
7. Using water efficient plumbing fixtures. Aerators and self-closing or electronic faucets in the
bathroom will help conserve even more water.
8. Designing for ease of maintenance and the use of environmentally friendly cleaning
products. Choose products that are low-maintenance and have compatible maintenance
specifications. During the design phase, work with cleaning experts to create a strategy for potential
cleaning procedures that use non-toxic cleaners. Allow for the handling of chemicals and equipment in
a secure manner.

• Conceptualization Techniques of Architectural Design

Universal Ideas and Principles

There are universal ideas and principles that transcend style or time and influence all architecture
in several ways. They were grouped into three categories: geometry, form and route. Most
architectures can be specified or represented within each of these classes.
1. Geometry - Geometry describes the order and organization of spaces according to geometric
principles. Geometry can affect the plan, elevation or section of a building, as well as its individual
elements, such as the doors or windows.
2. Form - Architectural principles may be presented in basic terms that describe the form or shape of
a building. Some types are complex, sculptural and highly inspired by the exterior appearance of
the building. This concept is defined as ‘function following form’. Other building forms are more
practical, determined by the internal activities or purpose of the building. These ideas can be
3. Route - The circulation of the building is crucial. The path to the door or entrance of a building
would be the first encounter of any visitor of the building. How this journey continues, the interactions
between the outside and the inside and the various interior levels, will further enhance the
experience.
In some buildings, such as museums and galleries, route or circulation is the programmable concept.
In this building, the circulation plays a vital role for the art or artifacts to be better understood and
experienced. Buildings can also have strong relationships to the journeys or routes around them; a
promenade, for example, celebrates the movement around a building or structure.

Conceptualization Techniques of Architectural Design

The analysis and expression of architectural thought is enabled by representation, which is

mediated through the unique conventions that are embedded within each mode and technique of
depiction. Architects do not design buildings; instead, they produce the designs and models from
which buildings are made.

It takes more than a puzzle to fit a program: It necessitates three-dimensional planning, spatial
perception, the inclusion of missing items, and a definition. In its most basic form, an architectural
program is a set of specifications that kicks off a project. This type of program is normally outlined by
the client with the aid of an architect or a special consultant, and it represents a balance between
desire, necessity, and budget. Despite the prerogative of the client, he is undecided to decide on his
own.
A. Concept Hierarchies

The designer is usually presented with the client's philosophy, priorities, strategy, operations, and
tasks, which he or she acknowledges as facts. These early ideas are "givens." The designer's ideas are
in accordance to these and, to the extent possible, the designer is required to create a conceptual
continuum with them. The following are some examples of concepts that a designer could come up
with when designing a building. (Reference: Concept Source Book)
1. Identify the problem's essence, main problems, and specific opportunities. Concepts for dealing
with these and their interrelationships are being established.
2. Creation of building functions and priorities, as well as their relationship to the problem's nature
and interdependencies.
3. Client operations and spaces are grouped and zoned into manageable clusters.
4. Master site zoning of on-site and building activities in relation to one another and the surrounding
area.
5. Design of master circulation concepts for the interior and exterior.
6. Grouping and zoning of clustered rooms in relation to themselves and to rooms in adjacent clusters.
7. Zoning use areas within individual rooms.
8. Development of formal, mechanical, and physical envelope concepts in response to space and
context.
9. Manipulation and refinement of all relationships to maximize positive effects on and by the
building. This requires that the designer maintain a sense of tentativeness and fluidity in all
decisions until all enjoy a sense of fit in terms of the whole.
 There are many other issues that conceptualization addresses in design, that is why multitude of
sub concepts must be developed with them. Below are sample of methods utilized in
conceptualization:

Method 1 - - - Identify the real problem (list the given significant information, study and evaluate the
data (you must have your initial idea of what the problem is by this stage) Record your findings in an
organized fashion Provide efficient mechanism to thoroughly think about your problem. (materials or
references for your design process)

Method 2
3 Essentials to Development of Creative Skills - - - Ideation – “to think” in new and unique ways Idea
Quantity – lots of ideas from which to select Imagineering – letting your imagination soar and then
engineering it back to reality. (translate your ideas by development of your form concept into
schematic plans or perspective)

Method 3 Stages in Designing

• Design Analysis (identification of the design problem one by one)
• Tentative Solutions (written and schemes)
• Criticisms (let your peer study and criticize your work)
• Operational Process (after considering criticisms, modify/improve sketches and concepts)
• Geometric – the detailed visual relationships between all the parts of the building as the operational
stage develop. (imagineering)

Method 4 Schematics – behavioral pattern of ideas, diagrams, programming, analysis, & proximity
metrics, criteria of design, & etc. Types of Diagrams for Designing 1. Inter-relationship diagram – used
Thank you