THEORY OF ARCHITECTURE 1 REVIEWER
ELEMENTS OF DESIGN________________
1. FORM & SHAPE
 Defined as a two or more dimensional area that stands out
from the space next to or around it due to a defined or
implied boundary, or because of differences of value,
color, or texture.
 Any three-dimensional object. Form can be measured,
from top to bottom (height), side to side (width), and
from back to front (depth).
There are two types of form,
1) geometric (man-made)
2) Natural (organic form)
 Form: (3D) the shape and structure of something as
distinguished from its substance or material.
 Shape: (2D) the two-dimensional contour that
characterizes an object or area.
2. LINE
 is an element of art defined by a point moving in space
 Vertical -dignity, formality, stability, and strength
 Horizontal-calm, peace, and relaxation
 Diagonal-action, activity, excitement, and movement
 Curved- Freedom, the natural, having the appearance of
softness, and creates a soothing feeling or mood.
Feminine curved lines
3. SPACE
Types:
 Open, uncluttered spaces
 Cramped, busy spaces
 Unused vs. good use of space (DEAD SPACE)
In design, space is concerned with the area deep within the moment of
designated design, the design will take place on. For a two-dimensional
design, space concerns creating the illusion of a third dimension on a flat
surface:
• Overlap is the effect where objects appear to be on top of each
other. This illusion makes the top element look closer to the
observer. There is no way to determine the depth of the space, only
the order of closeness.
• Shading adds gradation marks to make an object of a two-
dimensional surface seem three-dimensional.
• Highlight, Transitional Light, Core of the Shadow, Reflected Light,
and Cast Shadow give an object a three-dimensional look.
• Linear Perspective is the concept relating to how an object seems
smaller the farther away it gets.
• Atmospheric Perspective is based on how air acts as a filter to
change the appearance of distant objects.
4. COLOR
o Can affect how humans feel and act
o Warm Colors: Reds, oranges, yellows
o Cool Colors: Blues, purples, greens
Blue:  feeling of positivity, confidence, and security commercial and
business spaces, such as banking agencies, offices and companies.
Yellow: optimism, curiosity, joviality and a bright atmosphere. Used in
commercial spaces or restaurants to gain the attention of pedestrians.
Red: shows energy, excitement, impulse. Therefore, it is regularly used in
commercial spaces, such as stores or fast food outlets, as it portrays a
certain compulsivity and consumer desire.
Green: calm, tranquility, serenity and well-being spaces associated
with health and well-being, such as hospitals and relaxation centers.
Orange: intensity, creativity, euphoria, and enthusiasm. Used in creative
environments, such as offices, studios, and schools. If used together with
blue, it conveys the idea of impulsivity and trust, and so is adopted by
banking agencies and offices.
Violet:  well-being, calmness, and softness.
5. VALUE
o The relative lightness or darkness of a color
o Shade – Degree of darkness of a color
o Tint – A pale or faint variation of a color
6. DIRECTION
• Vertical, Horizontal, Diagonal &Curved
7. TEXTURE
 Smooth Surface – Reflects more light and therefore is a
more intense color.
 Rough Surface – Absorbs more light and therefore
appears darker.
PRINCIPLES OF
DESIGN_________________________
1. BALANCE
-Parts of the design are equally distributed to create a
sense of stability. Both physical and visual balance
exist.
TYPES:
• Symmetrical or formal balance: The
elements within the design are identical in
relation to a centerline or axis.
• Asymmetrical or informal balance: Parts of
the design are not identical but are equal in
visual weight.
• Radial balance: Design elements radiate
outward from the center.
• Vertical balance: The top and bottom parts
are equal.
• Horizontal balance: The parts on the left
and right sides are equal.
2. RYTHYM
- Repeated use of line, shape, color, texture or pattern
Types:
• Regular rhythm: An element is repeated at
the same repetition/interval each time.
• Graduated rhythm: Repeated element is
identical with the exception of one detail
increasing of decreasing gradually with
each repetition.
 • Random rhythm: The beats of the element o GRAND –Huge, big, wide, spacious
are random or are at irregular intervals. o INTIMATE –Small, compressed
• Gradated rhythm: The repeated element is
identical with the exception of one detail
increasing or decreasing gradually with
each repetition.

3. CONTRAST 5. UNITY & HARMONY

Noticeably different -> can be created with –Unity is achieved by the consistent use of lines,
• Color color, material, and/or texture within a design.
• Proportion and scale
• Shape
• Texture 6. ARCHITECTURAL CHARACTER
• Etc. –Character-defining elements include the overall
shape of the building, its materials, craftsmanship,
decorative details, interior spaces and features, as
4. SCALE & PROPORTION well as the various aspects of its site and
–Comparative relationships between elements in a environment. (via google)
design with respect to size –Character influenced by: Culture
3:5 ratio is known as the Golden Mean

7. EMPHASIS & SUBERDENATION

–Emphasis is defined as an area or object within the artwork that draws attention and becomes a focal point.
Subordination is defined as minimizing or toning down other compositional elements in order to bring attention to the
focal point. ... Therefore, the red circle is the focal point of the composition

PHRASES
USED_____________________________
 DD – (Down payment)
 SDP –(Schematic Design Phase)
 DVP –(Design Development Phase)
 CDP –(Contract Document Phase)
 RF –(Retainer’s Fee)
 ASMEPF –(Architectural, Structural, Mechanical,
Electrical, Plumbing, Fire protection)
 RCP –(Reflected Ceiling plan)
 SODW –(Scheduled of doors & windows)
ARCHITECTURAL
THEORY______________
–process of discussing, thinking & writing about architecture
I. DECONSTRUCTIVISM
 characterised by surface manipulation,
fragmentation, and non-rectilinear shapes
which distort and dislocate architectural
conventions concerning structure and envelope.
 Breaks all rules of construction theory
 Bits & pieces in haphazard manner.

II. POST MODERNISM

4 MASTERS OF ARCHITECTURE_________  Buildings had curved forms, decorative
elements, asymmetry, bright colors, and
1) Frank Lloyd Wright features often borrowed from earlier
2) Walter Gropius periods. Colors and textures unrelated to
3) Le Corbusier the structure or function of the building.
4) Ludwig Mies van der Rohe  “form follows function”

III. PARAMETIC DESIGN

ARCHITECTURE: _______________________  Method of intelligently designing based on
–A passion, vocation, calling, a science & business “computer rules” ;software
–Firmness, commodity & delight  process based on algorithmic thinking that
–UTILITAS, FIRMITAS, VENUSTAS enables the expression of parameters and
–Increase productivity; support rules that, together, define, encode and clarify
community/neighborhood/health/decrease crime the relationship between design intent and
response
THEORY:
_______________________________ IV. FUTURISTIC DESIGN
–Supposition of system of ideas intended to explain  Bold, bio-inspired & sustainable
something
CONSTRUCTION METHOD
 1) ARCHES –Vertical Curved
2) ASSEMBLR –Roof, wall or floor
3) BASE CONSTRUCTION –Erect basic
elements
4) EXCAVATION –moving earth/rock
beneath
5) BARREL VAULT –tunnel vault/ wagon
vault
6) BLOCK WORK –concrete cement blocks
7) BRICK
CONCEPTS OF
DESIGN______________________
1) IDEAS –concrete thoughts; result in
understanding insight or observation
2) NOTIONS –ideas that are presumed to be
unsubstantial, unsubstained or often
trivial; common of randomness
3) CONCEPTS & IDEAS –similar to ideas
but specific thoughts we have as a result
of an understanding this particular
characteristic; several elements of
characteristic = one thing
4) CONCEPTUAL SCENARIOS –identify
how all important ideas & issues that
might be let out in a briefer brought
together in a longer prose statement.
Scenarios
5) ANALOGIES –possible, literal
relationships between things; act of
comparing 2 things that are alike in some
way; identify possible literal relationships
6) METAPHOR & SIMILIES –“like” or
“as” to express relationship; identify
possible patterns of parallel relationships
7) ESSENCES –“De Stijl” & concentrate of
more complex issues into terse, explicit
statements; result of discovering &
identifying the roots of an issue
8) DIRECT RESPONSE & SOLVING
PROBLEM –can be developed more
pragmatic issues
9) IDEALS –look inside the problem to
discover appropriate concepts;
inappropriate -> preconception basic
competence is questioned
DESIGN
PROCESS__________________________
–An approach for breaking down large projects into
manageable chunks. METHODS:
1) PROGRAMMING
–set of needs that a building needs to
fulfill overall design
2) SCHEMATIC DESIGN
3) –“Focus on the scheme”
4) DESIGN DEVELOPMENT
5) CONSTRUCTION DOCUMENT
________________________________________
____
___________ANTHROPOMETRICS________
____
–Comparative study of the measurements and
capabilities of the human body
–Greek words ‘anthropos’ (Human) & ‘metron’
(measure)
–Building designs that adapt & suit the human
body
1) Static Anthropometry
2) Functional Anthropometry
________________________________________
____
________________ERGONOMICS__________
____
________________________________________
____
_________________SEMIOTICS____________
____
CULTURAL
ARCHITECTURE________________
BEHAVIOR &
PSYCHOLOGICAL_____________
DESIGN________________________________
____
FILIPINO
ARCHITECTS__________________
1) JUAN FELIPE NAKPIL
May 26 1899-May 7, 1986
–Juan Felipe de Jesus Nakpil 
–SON OF: Julio Nakpil and
Gregorio de Jesus (Andres
Bonifacio's widow).
–Lessons from artistic
masters Fabian dela Rosa and Fernando Amorsolo.
–Founded the “Philippine Architects Society”1933
(Philippine Institute of Architects)
–Pioneer and innovator of the Philippine Architecture
–Dean of Filipino Architects
–First National Artist for Architecture.

2) PABLO S. ANTONIO
January 25, 1901-June 14, 1975
–1901born: Binondo, Manila
–Studied architecture in Mapua Institute
of Technology and later transfer to
University of London

–Pioneer of modern Philippine architecture

–Art Deco technique
–1976, -> National Artist (2ND to be honored)

3) LEANDRO V. LOCSIN
August 15, 1928 – November 15, 1994
–Leandro "Lindy" V. Locsin
–concrete, floating volume and simplistic
design in his various projects
–mastery of scale and volume

–duality of light and heavy, buoyant and massive running in

his major works.
–National Artist of the Philippines for Architecture in 1990
by the late President Corazon C. Aquino.

4) ILDEFONSO P. SANTOS JR.

September 5, 1929-January 29, 2014
ldefonso "IP" Santos
son of Filipino poet Ildefonso Santos and
Asuncion Paez
"Father of Philippine Landscape
Architecture.
awarded with the title of "national artist" for his outstanding
achievement in architecture and allied arts on June 9, 2006.

4) FRANCISCO MAÑOSA
 TYPES OF ARCHITECTURE STYLES IV. PANTHEON (ATHENS)
LOCATION:
1) ART DECO ARCHITECT:
ARCHITECTURE STYLE:
2) ART NOUVEAU ELEMENTS:
3) BAROQUE PRINCIPLES:
4) BAUHAUS
5) BRUTALISM V. TEMPLE I, TIKAL
6) BYZANTINE LOCATION:
ARCHITECT:
7) BYZANTINE ARCHITECTURE STYLE:
8) CLASSICAL ELEMENTS:
PRINCIPLES:
9) DECONSTRUCTIVISM
10) EARLY CHRISIAN
11) EARLY ENGLISH
VI. CATHEDREAL OF NOTRE DAME
12) FUTURIST LOCATION:
13) GERMAN EXPRESSIONIST ARCHITECT:
14) GOTHIC ARCHITECTURE STYLE:
ELEMENTS:
15) GREEK PRINCIPLES:
16) MODERN
17) MOORISH/ISLAMIC VII. CATHEDRAL OF SANTA MARIA
18) MUGHAL DEL FIORE
19) NEO-CLASSICAL LOCATION:
20) PALLADIAN ARCHITECT:
ARCHITECTURE STYLE:
21) POTMODERN ELEMENTS:
22) REINASSANCE PRINCIPLES:
23) ROCOCO
24) ROMAN VIII. THE GREAT MOSQUE OF
25) ROMANESQUE CORDOBA
LOCATION:
26) RUSTIC ARCHITECT:
27) VICTORIAN ARCHITECTURE STYLE:
________________________________________ ELEMENTS:
PRINCIPLES:
____
ARCHITECTURE STUDIES OF VARIOUS IX. ST. PETER’S BASILICA
BUILDINGS (STUDENT REPORTS) LOCATION:
ARCHITECT:
ARCHITECTURE STYLE:
ELEMENTS:
I. COLOSSEUM (FLAVIAN PRINCIPLES:
AMPHITHEATRE)
LOCATION: Piazza del Colosseo, Rome, Italy X. SAINT MARK’S BASILICA (1063-1092)
Center of the City of Rome, Italy LOCATION: Metropolitan City of Venice, Italy
ARCHITECT: ARCHITECT: Domenico I Contarini
ARCHITECTURE STYLE: Classical and Roman Styles ARCHITECTURE STYLE: Byzantine Architecture
> Modern Fascist Architecture ELEMENTS:
ELEMENTS: PRINCIPLES:
PRINCIPLES:
XI. HAGIA-SOPHIA
II. TEMPIETTO (SAN PIETRO) LOCATION: Vicenza northern Italy
LOCATION: ARCHITECT: Andrea Palladio, Vicenzo Scamozzi
ARCHITECT: ARCHITECTURE STYLE: Renaissance, Palladian
ARCHITECTURE STYLE: architecture
ELEMENTS: ELEMENTS:
PRINCIPLES: PRINCIPLES:

III. PANTHEON XII. LA ROTONDA

LOCATION: LOCATION: Vicenza
ARCHITECT: ARCHITECT: Andrea Palladio, Vincenzo Scamozzi
ARCHITECTURE STYLE: ARCHITECTURE STYLE: Palladian, Renaissance
ELEMENTS: ELEMENTS:
PRINCIPLES: PRINCIPLES:
  “Villa Almerico Capra Valmarana” → CAPRA ARCHITECTURE STYLE: GERMAN
brothers EXPRESSIONIST ARCHITECTURE
 World Heritage ELEMENTS: Rough, vertical & horizontal, beige/white
 INTERIOR: → carved marble, open pediment silver, upward erected direction
PRINCIPLES: informal, intimate scale, irregular rhythm,
contrast and harmony to surrounding landscape
XIII. LOUVRE MUSEUM (10 August 1793 – 2015)
LOCATION: Musée du Louvre, 75001 Paris, France  Intended as a solar observatory
ARCHITECT: Pierre Lescot (orig), Ieoh Ming Pei  astrophysical observatory, built to
(modern) [Claude Rerrault → facilitator], & Lois Le Vau house a solar telescope → to
ARCHITECTURE STYLE: OLD: Baroque (Italian), support experiments and
French Renaissance, Neoclassical MODERN: Modern, observations
Futurist architecture  Reinforced Concrete
ELEMENTS: sharp line edges, U-shaped, brownish,
roughness = strength
PRINCIPLES: formal balamce, grand order,
XVI. FAGUS FACTORY, ALFELD &
 King Philippe Auguste BAUHAUS, DESSAU (1911-1913) & (April 1919
 WORLD’S LARGEST MUSEUM -1933)
 Pyramide du Louvre (1980) LOCATION: Hannoversche Str. 58, 31061 Alfeld
(Leine), Germany & Dessau
 SUBTERRANEAN ENTRANCE
ARCHITECT: Walter Adolph Gropius (Adolf Meyer →
 Pyramide Inversée (Inverted Pyramid)
collab w/ Fagus factory)
 INTERIOR: Rococo style ARCHITECTURE STYLE: Modernist
 22 m (72 ft.) height Industrial/Architecture/ Bauhaus Architectural Movement
 35 m (116 ft.) base ELEMENTS: sharp edges line, vertical-horizontal,
 Flanked by three smaller geometric shape, light color contrast to blue curtains,
pyramids rough and smooth
 675 diamond-shaped and 118 PRINCIPLES: informal balance of weight, regular
triangular panes pattern, contrast colors with materials, normal scale
 128 steel girders and 16 steel
cables
 Modern style of windows
XIV. EIFFEL TOWER (28 January 1887- 31 March  Visible use of glass, concrete and steel
1889)  Consideration to lighting in working area of factory
LOCATION: Champ de Mars, Paris France  Landmark in the development of modern architecture
ARCHITECT: Emile Nouguier, Eng. Maurice Koechlin, (Europe & North America) industrial design
Arc. Stephen Sauvestre (Alexandre Gustave Eiffel)  Hygienic & relaxing atmosphere
ARCHITECTURE STYLE: Neo-Gothic, Neo-  UNESCO heritage Germany
Renaissance & Neo-Baroque (Hallmark of Modern
Architecture)
ELEMENTS: Diagonal lines, Pyramidal shape, enlarged
puddled iron structure, rough texture, direction upward,
reddish brown- iron color.
PRINCIPLES: formal balance, compact rhythm, contrast
curved to shaped upward, grand scale, strange to popular

 Modern architecture because of use of IRON

(INDUSTRIAL ERA)
 Purely demonstrate French Architectural creativity
and skill
 Otis Elevator Company – [U.S based/ elevator
system]
 20,000 light bulbs (5,000 per side)
 Used as radio towers in World War
 Built to celebrate the centennial of the French
Revolution (100-year anniversary of the fall of XVII. TAJ MAHAL (1631//1648)
Bastille) LOCATION: Agra Uttar Pradesh, India (right bank of
 Ground floor – The forecourt Yamuna River)
 1st floor/main – Cinema, ARCHITECT: Ustad-Ahmad Lahouri
Information wall, Galleries, ARCHITECTURE STYLE: Indo-Islamic/ Mughal
pavilion, restaurant 58 Architecture
 2nd floor – Galleries/ view ELEMENTS: White-purity cleanliness tranquility,
 Intermediate floor –Ghost smooth and rough from mosaics, geometric hemisphere
floor, 2nd & top floor dome, curved and straight lines
 3rd floor – View PRINCIPLES: formal balance, harmonizes with plain
 324 m (1,063 ft) tall surrounding, grand scale
 81 –storey building
 Taj Mahal → White Marble MAUSOLEUM
 4 minarets each corner (Adhan/Azan: Islamic call to
XV. EINSTEIN TOWER (1921-1921) prayer)
LOCATION: ALBERT- EINSTEIN-STRABE, 14473  Inscribed Calligraphy → Quran verses
POTSDAM, GERMANY  CENOTAPH ← Mumtaz Mahal →
ARCHITECT: Erich Mendelsohn SARCOPHAGUS underneath garden
  Mughal emperor Shah Jahan → Mumtaz Mahal
(wife) mausoleum who died in childbirth

Central dome 73 KEYWORDS

m (240 ft)→ o CENOTAPH
Surrounded by o CORINTHIAN
smaller domes→ o DE STIJL
Inside: Octagonal marble chamber→ o DORIC
Semi-precious stones →
o IONIC
o MAUSOLEUM
o PEDIMENT
XVIII. SCHRODER HOUSE (1924-1924) o REINFORCED CONCRETE
LOCATION: Prins Hedriklaan 50, 3583 EP Utrecht, o SARCHOPHAGUS
Netherlands o TUSCAN
ARCHITECT: Gerrit Thomas Rietvald
o THOLOBATE
ARCHITECTURE STYLE: “DE STIJL”
ELEMENTS: Vertical and Horizontal, Geometric shape, o SUBTERRANEAN ENTRANCE
Dominated by whites –touch of red, blue, yellow, black &
grey, smooth o
PRINCIPLES: Intimate scale, conservative contrast,

1. A 1917 movement “De Stijl” → “the style”

2. Fluid transitions between interior and exterior
3. Clean vertical & horizontal lines (primary colors w/
bw/grey)
4. THEO VAN DOESBURG & PIET MONDRIAN
→ Established De Stijl movement ← geometric
abstraction

ARCHITECTURAL ASPECTS W/LABELS