I.

GENERAL INFLUENCES
NEEDS OF MAN -GREEK

1. Physical Needs
A. SELF PRESERVATION (basic)
B. REPRODUCTION (population) -FRENCH RENAISSANCE

SHELTER-something that covers or protects

MODERN SHELTER SHALL HAVE: -VICTORIAN

1. Necessities – basic, makes it warm and permanency
2. Conveniences- rooms shall be arranged economically.
3. Comforts - furnishings are designed for
comfort. -CONTEMPORARY
2. Emotional Needs
3. Intellectual Needs

ACTIVITIES OF MAN
1 . Desire for Preservation
2. Desire for Recognition
3. Desire for Response
4. Desire for Self-Expression

II. INFLUENCES OF NATURE

1. CLIMATE
A. Plans

C. MAN’S INTERESTS
B. Structural Elements
1. HOUSE

C. Protective Elements

2. FACTORY

D. Circulatory

3. CHURCH
E. Decorative Elements

CENTURY ARCHITECTURE

2. TOPOGRAPHY TRANSPORTATION
3. MATERIALS
III. INFLUENCE OF A MAN COMMERCE

1. SOCIAL CONDITIONS EDUCATION

A. PERIODS
B. MAN’S PERSONALITY REHABILITATION
 1. CENTRALIZED FORMS-
THE PRINCIPLES OF DESIGN ESSENTIALS 2. LINEAR FORMS—
3. RADIAL FORMS—
OF THE STRUCTURE
4. CLUSTEREO FORMS-
 THE INVISIBLE STRUCTURE 5. GRID FORMS-
 THE VISIBLE STRUCTURE
1. FORM ARTICULATION OF FORM
Mass (volume or evidence of the 3 dimension)
- Direction A form and its surface planes can be articulated by: FOUR
- Shape WAYS
2. SURFACE 1. differentiating adjacent surfaces with a change in material, color.
Area (surface of 2 dimension: façade of the bldg. texture or pattern.
- Texture 2. developing the corner as a distinct linear element independent of
- Tone the surfaces.
- Color 3. removing the corner to physically separate adjacent ptanes.
4. lighting the form ·to create sharp distinctions of light and dark at
 FORM its corners.
 MASS
 VOLUME - EDGES & CORNERS
- ARTICULATED CORNERS
Form - PLAN CONFIGURATIONS

1. VISUAL PROPERTIES OF FORM SURFACE

A. Shape A. TEXTURE
B. Size B. TONE
C. Color C. COLOR
D. Texture
E. Position
F. Orientation
G. Visual inertia

2. SHAPE
- Planes
- Openings
- Silhouettes of bulking forms

PRIMARY SHAPES CHAPTER 2: CHROMATIC ENERGY OF ARCH’L DESIGN

1. Circle
2. Triangle PSYCHOLOGICAL EFFECTS OF COLOR
3. Square
THE TRANSFORMATION OF FORM RED - tends to produce rage or passion; it is exciting and
stimulates the brain. It has an aggressive quality and is frequently
1. DIMENSIONAL TRANSFORMATIONS: associated with violence and excitement. (medium red) suggests
2. SUBTRACTIVE TRANSFORMATlONS: health and vitality (bright red) often has amorous connotations.
3. ADDITIVE TRANSFORMATIONS:
FOUR {4) BASIC possibilities for two forms to group together- denotes gayety; stimulating cheering – to the lazy,
YELLOW
are: upsetting to the nervous. It is the most luminous color. Yellow also
1. by SPATIAL TENSION demands attention, and so it is used in dangerous locations, such as
2. by EDGE to EDGE CONTACT the edge of a subway platform to mark the hazard, while red used
3. by FACE to FACE CONTACT to be the color for firetrucks, yellow is now preferred.
4. by INTERLOCKING VOLUMES-
ORANGE - has a stimulating effect and should usually be used in
THERE ARE FIVE (5)DIAGRAMS as shown below. relatively small amounts. The occupant of an orange office, for
instance will become ill at ease after a short time and will leave it
at every opportunity.

BROWN - is restful and warming but should be combined with

orange, yellow or gold because it could be depressing if used
alone.

GRAY - suggests cold and is also depressing unless combined with

at least one livelier color.

WHITE - is cheerful, particularly when used with warm colors like

red, yellow and orange.

CHARACTER
PURPLE- is sedative and soothing. It suggests a stately or
melancholy atmosphere. Cheerfulness or cowardice, cheapness.
1. FUNCTIONAL CHARACTER
BLUE - is peaceful and tranquil. It reduces excitability and A. Museum
therefore helps one to concentrate. B. School building
C. Shop
GREEN - has a cooling quality and it acts as a sedative. D. Factory
E. Monument
F. Bank
COLOR USAGE
G. Movie (Cinema House)
1. Residential H. House
2. Commercial
3. Industrial

ASSOCIATED CHARACTER
UST
Bank
SAFETY COLOR GUIDES Modern Church
RED- STOP Modern Bank
ORANGE- DANGER
YELLOW – CAUTION OR RISK PERSONAL CHARACTER
GREEN – SAFETY Custom-house
BLUE – MANDATORY ACTION Large house
PURPLE -RADIATION HAZARDS Simple designed house
BLACK, WHITE OR COMBINATION OF BOTH – TRAFFIC AND
HOUSEKEEPING MARKINGS. Personality of character in a bldg. can be attained by the ingenious
application of masses, lines and color treatment.
4. Institutional
5. Educational heavy masses .... sedate (composed) {dignified)
straight lines .... sturdiness (masculine effect)
COLOR AS AN EXPRESSION ELEMENT OF DESIGN horizontal lines -repose I rest, peace) stability, comfort, and
widening effect.
verticallines-strength (power, vitality, dignity, inspirational
- The uniform colour of the wall of a room. emphasize height and monumentality dynamic).
- The effect of the visible size on colour diagonal lines-action (movement, vigor and speed).
- Colours on a non-uniform background irregular lines-informality (excitement).
- The effect of colour on form curved lines-grace (refinement, feminine emotional, continuity,
flexibility).
bright colors-Ired, yellow, orange, et.) conspicuous, cheerful,
stimulating,
CHAPTER 3: PRINCIPLES OF COMPOSITION cool colors-blue green, violet, etc. lunconspicuous, restful receding
effect,suggests distance) .attractive, advancing effect.
 - KINESTHETIC
Character then maybe expressed in Architecture by the following:

1. Scale ... when increased, it gives a feeling of grandeur, dignity and B. THE PERCEPTION OF OBJECTS
monumentality. However, when scale is reduced, these characteristics
are lessened if not reversed. C. THE PERCEPTION OF SHAPE

2.Proportion ... regarded to produce formality in character when

applied. Example is triangular massing. The huge proportions applied in - FIGUREGROUND
the parts of the classical buildings give them the formal character.
- VANITY
3. Style ... many architects believe that style is character expressive of
definite conceptions as for example-grandeur, gaiety or solemnity. On
account of traditions, certain styles of Architecture were adapted for - FLUCTUATION
specific types of buildings. This give the proper or good "Ambience"
say, for example, a neat and orderly modern design of a beergarden as - IMPOSSIBLE FIGURES
compared to a beergarden with indigenous, all local materials used.

AMBIENCE -surrounding on all sides, an environment or its distinct

atmosphere; or milieu.
MILIEU -environment, social or cultural setting.
PSYCHOLOGICAL FACTORS AFFECTING
ACCURACY OF SHAPE PERCEPTION

VISUAL OR OPTICAL ILUSIONS

CHAPTER 4: PLAN COMPOSITION

PLAN COMPOSITION SCHEME PERCEPTION OF SPACE DEPTH &

- Axial Arrangements DISTANCE
- Principles
- FILED AND EMPTY DISTANCE
- Emphasis
- PROXIMITY
- Secondary Principles
- CONTRADICTORY DEPTH FACTORS
A. REPETITION
VISUAL DEPTH

B. ALTERNATION ILLUSIONS OF DEPTH

MONOCULAR CUES TO DEPTH

C. TRANSITION
SUPERPOSITION
APPARENT MAGNITUDE AND RELATIVE SIZE
D. TRANSFORMATION HEIGHT IN PLACE
TEXTURE

CHAPTER 5: VISUAL ACUITY & PERCEPTION

PARADOX OF DEPTH

VISUAL ACUITY AND PERCEPTION

CHAPTER 6: CONCEPTUALIZATION
A. SPATIAL PERCEPTION
TECHNIQUES OF DESIGN
- STEREOSCOPIC CONTEXTS FOR CONCEPT GETTING
Before addressing considerations dealing directly with building
projects, there are some
broader concerns which form a context for understanding architectural
concept getting.
1} General philosophy and life values of the Designer some
psychological categories
that combine to influence the formation of a design philosophy and d. Where the designer should concentrate his design efforts on his
which affect the perceptions of the problems essence and its unique characteristics.
making of design decisions are: e. What the physical elements to be manipulated are within each of the
a. Motivation and interest issue categories.
b. Enhancement of self-image EXAMPLE OF ARCHITECTURAL CONCEPTS
c. Dependence on or independence of outside reinforcement of self-
worth PRISM SCULPTURE
d. Expansion of one's sphere of influence
e. Concern for fellow man LIVING IN CAPSULES
f. Immediate and deferred goals
g. Conservation of what is scarce and valued.
h. Quest for simplification CREATIVITY
i. The material and the spiritual 3 essentials to development of creative skills
2) Design Philosophy of the Designer.
Listed here are some of the issues about which the designer may Ideation
hold
values:
Idea Quantity

3. Imagineering

STAGES IN DESIGNING

1. DESIGN ANALYSIS

2. TENTATIVE ‘SOLUTIONS’

3. CRITICISM

4. OPERATIONAL PROCESS

5. GEOMETRIC

CHAPTER 5:METHODOLOGY
VISUAL
View of the problem by the desig
ACUITY & PERCEPTION
ner presented with a specific design project. DESIGN METHODS AND DESIGN TOOLS

There are several judgements that the. designer makes about the project
that, together, constitute his view of it. A DESIGN PARADIGM… (a pattern, example, or model)

a. Whether the project calls for an architectural solution {whether

DESIGN it is in
TOOLS
his province to satisfy the needs). The client may need a new
managerial system rather than a new building. PRESTATEMENT
b. What the limits of the project are: What are the project edges in terms of
the designer's responsibility? (The designer may not be involved in site
design). PROBLEM STATEMENT
What the categories of concern are within the project that the
designer will use as a checklist this include:
INFORMATION
4. ANALYSIS

5. SYNTHESIS

6. EVALUATION

CHAPTER 7: FUNCTIONAL GROUPING & ZONING

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