TOA 1 & 2 MODULE

TOA 113 (THEORY OF ARCHITECTURE 1)

PRINCIPLES OF ARCHITECTURE
A structure/building is composed of two essentials:

1. Invisible Structure- the plan or the horizontal disposition of a building.

2. Visible Structure- the apparent volume which is readily seen by the observer, the
façade of the building.

ELEMENTS OF DESIGN
1. Form- is the primary identifying characteristic of volume.

2. Shape-is the planes primary identifying characteristics

3. Lines- are sets of points.

4. Color- the quality of light, created when our optic nerves react to the given ray of light.

5. Texture- refers to surface treatment and usually associated with materials.

PRINCIPLES OF CREATIVITY
Creativity is the process of coming up with new ideas

ELEMENTS IN DEVELOPING CREATIVITY:

Ideation – the mental process which gives the ability to think or ideate
Idea quantity – the capacity to produce the largest number of ideas per unit of time
Imagineering – the process of letting the imagination soar and then engineering it
back to reality

ARCHITECTURAL DESIGN COMPOSITION

Steps in Architectural Design

1. Horizontal Disposition (Plan)
a. Arrangement of units according to function
b. Arrangement of units according to plan composition
2. Vertical Growth (Façade)
a. Creation of Volume and space relationships
b. Development of mass and its composition
c. Selection of type of construction
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3. Conditioning Process
a. Space organized for convenience-selection of materials, introduction of circulatory
elements: doors, windows, stairs, and corridors
b. Space organized for comfort- introduction of mechanical equipment for light, heat,
and sanitation
c. Space organized for appearance.
 Interior and exterior surface and volumes conditioned according to principles
of composition.

PRINCIPLES OF PLAN COMPOSITION

PRINCIPLES are ideas or truths learned throughout the ages.

 All our acts of selections and arrangements are decisions in design.

 All of us work in a variety of ways when we create design.
 All of us have different means that will alter our choices.
 The materials that are available at the time we are planning the design will surely
influence our choices. The locality where design is created will affect it.
 The tools and processes used in the development in the design will alter our
individual approach to the problem.
 Therefore, principles will set us standards to judge what is beautiful. All forms of
art such as music, theater, painting, sculpture, including architecture has the same
basic principles common to all. These principles can be utilized to create order in a
composition.
 There exists a natural diversity and complexity in the program requirements for
buildings. Their forms and space must acknowledge the hierarchy inherent in the
functions they accommodate, the users they serve, the purposes or the meaning they
convey, the scope or context they address.
 It is in recognition of this natural diversity, complexity and hierarchy in the program
and substance of the buildings that ordering principles are discussed.
 Order without diversity can result to monotony or boredom, diversity without
order can produce chaos.
 Design principles are seen as visual devices that allow the diverse forms and spaces of
a building to co-exist perpetually within an ordered and unified whole.
 More recognition of these principles does not, however, insure a successful design.
 Creative ability, in addition to knowledge of application of elements of design is
necessary in the production of distinguished results. Ability to discern between what
is fine and what is mediocre, that quality which we call TASTE must be developed.
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PRINCIPLES OF PLAN COMPOSITION

A good plan should be ORGANIC, that is it should be arranged that the composition will be
disturbed if one element is moved. It should have a PARTI or scheme behind its
composition.

The principles of plan compositions are:

A. PRIMARY PRINCIPLES
1. Contrast– is used to give emphasis or interest by producing:
a. difference in sizes of areas
b. variation in shape
c. contrast in character, e.g., contrast between open and closed spaces
d. contrast in direction
2. Balance
a. Symmetrical balance about a central axis. This type of balance gives a feeling of
repose and order
b. Unsymmetrical balance. This results from an informal arrangement.
3. Emphasis
This is to have one unit of the plan give emphasis to one particular phase of the
activity which is to be carried on within. It is necessary that the architecture frame and
accent this activity.

B. SECONDARY PRINCIPLES

1. Repetition.
Ex. When a number of rooms of equal size and shape occur side by side, or when
windows, columns, arches are spaced in a regular manner to give an unaccented
rhythm.

2. Alteration
Altering sizes, shapes and elements. This gives contrast.

3. Transition
Ex. Small vestibules protect and act as buffers for the lobbies which follow and
the lobbies in turn, allows the visitors to become adjusted to the situation which
confronts him upon entering the building. These minor elements give the observer
some preparatory indication of the general character and use of the interior before
introducing him to the more important units.
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THE PRINCIPLES OF COMPOSITION IN VOLUME

These principles are:
1. Contrast
- association of unlike qualities
- transition is one important rule in using principle of contrast
2. Proportion
- harmonious relation of one part to another with respect to magnitude and quantity,
refers to size of human beings.
3. Scale
- deals with the relation of architectural motifs such as windows, doors, mouldings, to
each other and to the human figure.
4. Balance
- means equality, satisfying to the eye with reference to the relative importance of the
various parts of design.
5. Rhythm
- organized movement of line which carries the eye from one element to another
a. Organized spacing
b. Repetition
c. Alternation
6. Unity
- relating to all unrelated parts of an architectural arrangement in order to obtain a
satisfactory composition. Unity is lost when there’s competition among motifs and
there’s duality or presence of two strong conflicting elements.
7. Character
- expressiveness
8. Emphasis
- center of interest, dominant area that catches the eye or arrest attention which leads
the eye from the most important part of design to other subordinating areas in the
order of their importance.

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TOA 123 (THEORY OF ARCHITECTURE 2)

I. BASIC PRINCIPLES OF DESIGN
DESIGN

 Activity of generating proposals that change
something that is better; it includes the most
environment
 Activity of generating proposals that change
something that is better; it includes the most
environment
something that already exists into
purposeful changes to the physical
something that already exists into
purposeful changes to the physical

TYPES OF ENVIRONMENT

 NATURAL
 BUILT

GENERAL CATEGORIES BY WHICH CONCERNS AND ISSUES MAY BE

ADDRESSED IN ARCHITECTURAL DESIGN
1. Functional Zoning – the need for adjacency
2. Architectural Space – a concretization of man’s existential space

Space is the most influential aspect of design problem solving.

The designer must know what activities, conditions, and people he is planning for.

3. Circulation and Building Form – circulation may be conceived as the perceptual thread
that links the spaces of a building or any series of interior or exterior spaces together.
Building forms are conceived as structures.

4. Response to Context – depending on the environment and the meaning of the structure in
that environment.
5. Building Envelope – the imaginary shape of a building indicating its maximum volume.

- Used to check the plan and setback with respect to zoning regulations.

Creativity, which is the process of generating new ideas, is an essential tool in design.

II. STAGES IN DESIGNING

1. DESIGN ANALYSIS
The stage in which we identify the PROBLEM in order to come up with the ideas to solve it.
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2. TENTATIVE SOLUTUONS
CREATIVE PROBLEM-SOLVING TECHNIQUES
 ALPHABETICAL LISTING – begins with all letters of the alphabet. Then for each letter,
list a word or phrase that begins with that letter and pertains to the problem you are
attempting to solve or a potential solution to it.
 FUNCTIONAL VISUALIZATION – thinking about what function the object will perform
instead of thinking how it will look like.
 MORPHOLOGICAL SYNTHESIS – making a list in a more direct manner to seek
alternatives.
 INVERSION – instead of thinking of how to improve the situation, think of how to make it
worse so that you are given a new set of perspective or concepts.
 BIONICS – “back-to-nature” solutions
 DESCRIPTION BY ASSOCIATION – offering a description of the object by associating it
with something else.
 BRAINSTORMING – a group process in which several people, for a given amount of time,
gathers together and discusses a particular problem, and everyone contributes positive
thoughts to the discussion.
3. CRITICISM

Design may be criticized by others who want to apply further objectives or prioritize other aspects of
the problem. During this stage, the problem may change and the information and objectives may
increase.
4. OPERATIONAL PROCESS

CONCEPTUAL DESIGN – sketches which make up a statement to intent for the guidance of
structural and service engineering consultants and for information of suppliers and manufacturers who
will be involved in the work.

OPERATIONAL DESIGN – detailed working drawings and specifications which may be constantly
modified during the process but always within the framework of the basic concept.

FIVE STEP DESIGN PROCESS

 INITIATION- recognition/definition of the problem to be solved

 PREPARATION- systematic collection/analysis of information about the problem to
be solved
 PROPOSAL MAKING/SYNTHESIS- conceptualization through graphic solutions,
matrices and diagrams
 EVALUATION- of the proposals
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 ACTION- activities associated with preparation and implementation of the project

proposal

III. STAGES IN DESIGN

BASIC PRINCPLES OF PLANNING

 COMPOSITION- arrangement of elements

 AXIAL ARRANGEMENTS- Axis is determined by the relative importance of the
sides which bound the plan
o MAJOR AXIS- Carried through the mass as one enters the building;
perpendicular to the main elevation and to the directional quality of the area –
location of entrance is more important than shape.
 TRANSVERSE MAJOR AXIS- cuts through the shorter direction
 LONGITUDINAL MAJOR AXIS- cuts through the longer direction

o PRINICIPAL MINOR AXIS- extends at right angle from the major axis;
parallel to the main elevation
 EMPHASIS- created by contrast in size, shape, character, etc
 REPETITION- when a number of room, window, arches, etc. of equal size and shape
occur side by side to create unaccented rhythm.
 ALTERATION- created by contrast in size, shape, character, etc
 TRANSITION- a satisfactory progression from one unit to another such as vestibules
lobbies; gives preparatory indication of the character and use of the interior
 TRANSFORMATION- a prototypical architectural model whose formal structure and
ordering structure and ordering are appropriate is transformed through a series of
discreet manipulations to respond to specific conditions and context

ARTICULATION OF FORMS AND GEOMETRY

 refers to the manner by which the surfaces of a form come together to define its shape
and volume.

WAYS OF ARTICULATING FORMS

 EDGES
 CORNERS
 SURFACES

HOW CORNERS DEFINE THE MEETING OF TWO PLANES

 By introducing another element

 By introducing an opening
 By cutting planes that define the corner
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 By rounding off the corners

FORMAL COLLISIONS

 Two forms can be subverting their individual identities and merge to create a new
composite form.
 One of the forms can receive the other totally within its volume.
 The two forms can retain their individual identities and share the interlocking portion
of their volumes.
 The two forms can separate and be linked by a third element that recalls the geometry
of one of the original forms.

IV. ARCHITECTURAL THEORIES AND THEORISTS

Architectural Theory is the act of thinking, discussing or most importantly writing about
architecture.

CLASSICAL THEORIES

 MARCUS VITRUVIUS POLLIO -the most prominent architectural theorist in the

Roman Empire known today, having written De architecturalibridecem (The Ten
Books of Architecture).

MEDIEVAL THEORIES

 Most documents dealt with monastery institutions and transcriptions of the bible;
architectural knowledge was passed by transcription, word of mouth and technically
in master builders lodges

RENAISSANCE THEORIES

 Leon Battista Alberti- the first great work of architectural theory of this period was
Alberti’sDe Re Aedificatoria, which placed Vitruvius at the core of the most profound
theoretical tradition of the modern ages. In 1485, it became the first printed book of
architecture.
 Giacomo (Japoco) Barozzi da Vignola- his two published books helped formulate the
canons of classical style: Regoledellicinqueordini d’ architettura- “rules of the five
orders of architecture,” and the posthumously published Due
regoledellaprospettivapractica- “two rules of practical perspective’ which favor one-
point perspective rather than two point methods.
 Andrea Palladio- Palladio’s I Quattro Libridell’Architettura (The Four books of
architecture) is an Italian tratise on architecture (1508-1580).

V. ARCHITECTURAL PERCEPTION
1) PERCEPTION - The process by which we organize and interpret the patterns of
stimuli in the environment (via senses)
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2) PRICIPLES OF PERCEPTION
3) STRENGTH OR INTENSITY- whether one object will force itself into our
consciousness than another.
4) MOVEMENT- a moving object is more compelling than a stationary object
5) SIZE- a large building is more compelling than small one
6) REPETITION- an object may attract attention by being constantly and regularly
repeated.
7) VISUAL ACUITY - Sharpness of vision; the visual ability to resolve fine details
8) TWO TYPES OF VISION
9) STEROESCOPIC VISION- is vision that involves perception of distance and depth as
well as the height and width of the object.
10) KINESTHETIC VISION- the perception of body position and movements, muscular
tension, etc.
11) STEREOACUITY - Is the cumulative result of all dimensional depth cues.
12) VISUAL OR OPTICAL ILLUSION - The observer’s perception is influenced by the
illusion the parts create in the whole pattern.
13) FILLED AND EMPTY DISTANCE - A depth filled with details appears to be greater
than one of the same physical distance which is empty.
14) PROXIMITY - Lines that appear to be in pairs lead us to see three pairs and an extra
at the line at the right. - The same lines but with extensions lead us to see the opposite
pairing: three broken squares and an extra line at the left.
15) CONTRADICTORY DEPTH FACTORS - Height location may lead to the
perception that the higher figure may be farther away.
16) VISUAL DEPTH - Despite the fact that the observer “sees” and “knows” in reality
and feels with his feet that the floor is composed of plain mosaic stones, it is
impossible to avoid the perception of depth.
17) ILLUSION OF DEPTH - The illusion in transformation of what is real and is believed
to be real has been a standard technique since the renaissance.

VI. ARCHITECTURAL CONCERNS

CATEGORIES OF ARCHITECTURAL CONCERNS

A. Function- activity, grouping, and zoning

B. Space- volume required by activities
C. Geometry- circulation, form and image
D. Context- site and climate
E. Enclosure- structure enclosing planes and openings
F. Systems- mechanical, electrical, etc.
G. Economic- initial cost, maintenance cost, etc.
H. Human factors- perception of human behavior
1) EXPRESSIVE OR ARTISTIC SPACE- created by man to express the structure of his
world.
2) AESTHETIC SPACE- concept which systematized the space’s possible properties.
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3) PHYSICAL SPACE -at the most basic level, answers the users’ physical needs. It
easy to design because every component is measurable based on certain standards,
and does not consider the social and psychological at needs of the users.

SPACE TO SPACE RELATIONSHIPS

A. Space within a space- consists of larger space enveloping a smaller space within its
volume.
B. Interlocking spaces- consist of two spaces whose fields overlap to form a zone of
shared space
C. Adjacent spaces- consist of two spaces that are clearly defined and responsive to
functional or symbolic requirements in their own way
D. Spaces linked by common space- consist of two spaces that are separated by distance
and a third intermediate space that interlocks them and defines their relationship

FIVE WAYS TO ARRANGE AND ORGANIZE SPACE

A. CENTRALIZED- consist of a central dominant space around which a number of

secondary spaces are grouped.
B. Linear- consist of a linear sequence of repetitive spaces that are generally alike in
size, form and function.
C. Radial- consists of a central space from which linear organizations extend in a radial
manner.
D. Clustered- consists of repetitive cellular spaces grouped by proximity or by the
sharing of a common trait or relationship.
E. Grid- consists of spaces whose positions in space and relationships with one another
are regulated by a three dimensional grid pattern or field.

VII. ARCHITECTURAL ELEMENTS

CIRCULATION ELEMENT

Building approach- building entrances are usually approached along a path, making it the first
phase of the circulation system. a. Frontal b. Oblique c. Spiral

The building entrance- the building entrance distinguishes the passage from one space to
another (outside to inside)

Configuration of the path

a. Pedestrian path- can accommodate sharper turns but require a greater volume of
space than the bodily dimensions of the users.
b. Vehicular paths- can be tailored tightly to the width of the vehicles but requires less
abrupt changes in pace and direction.

Path space relationships

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a. Pass by space- maintains the integrity of earth space; flexible configuration; may be
connected to mediating paths.
b. Pass through spaces- axially, obliquely or along its edge; creates patterns of
movement or rest within the space.
c. Terminate in a space- used to approach and enter functionally and symbolically
important spaces.
d. Form of circulation space- corridors, balconies, galleries, stairs and rooms are
circulation space that form an integral part of the building organization and occupy a
significant amount of space within the building’s volume.

ARCHITECTURAL ELEMENTS

1. Solar shading in summer

Shading by structural elements (overhangs, walls, baffles, etc.) is designed to
intercept the sun’s rays at the building exterior; affects the façade of the building.
1. Powered louvers to diminish heat gain – exterior, power-operated sun louvers that
automatically turn to exclude the sun’s rays as it relative position changes throughout
the day.
2. Evaporative cooling- as water evaporates heat is drawn from the air, reducing the
water’s temperature.
3. Building configuration- buildings should be constructed with minimum exposed
surface area except when the skin facilitates heat dissipation.

BUILDING ENCLOSURE AND BUILDING ENVELOPE

Properties of enclosure

1. Dimension (properties, scale)

2. Shape (definition)
3. Configuration(form)
4. Surface (color, texture, pattern)
5. Edges
6. Openings (enclosure, light, view)

OPENINGS IN SPACE

1. Degree of enclosure- determined by the configuration and the pattern of the openings,
has a significant impact on our perception of the orientation and overall form of the
space.
2. Light- natural light coming from windows illuminates the space’s surfaces and forms
enlivens its colors and influences its mood.
3. View- windows and skylights provide view and establish a visual relationship
between the room and its surroundings
4. Openings within planes
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THE BUILDING ENVELOPE - The building envelope may be regarded as more than a
two dimensional space. It is a transition space where people inside can have a preview of
what is outside or vice versa.

BASIC COMPONENTS OF THE ENVELOPE

1. Filter- a means to make the connection indirect (screens, walls); selects outside
condition that will be allowed into the building (40); sometimes may be in the position of
a switch.
2. Connector- a means to make a connection (doorways, openings); characteristics of
architecture in mild climates
3. Switch- regulating connector (operable doors and windows)
4. Barrier- separating element (roof, wall); completely severs the relationship between the
indoor and the outdoor; characteristic of architecture in harsh climates

TWO DIFFERENTCONCEPTS OF ENVELOPE DESIGN

1. The closed shell- establishes limited contacts with the outdoors; usually found in harsh
climates.
2. The open frame- begins as a structural frame with the building skin selectively added to
modify only a few outside forces; usually found in hot, humid climate.

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