TOA

Theory of Architecture
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This work is the property of
Pedro Santos Jr. and Dianne Ancheta.
For questions, contact the authors at arch.
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dianneancheta@gmail.com.
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MODULE 3
Design Perception
OVERVIEW OF THE MODULE
▪ Module 3: Design Perception
▪ Part 3.1: Space Articulation
▪ Part 3.2: Proxemics
▪ Part 3.3: Architectural Styles
Part 3.1
Space Articulation
Space
Space is the three-dimensional field in which objects
and events occur and have relative position and
direction, especially a portion of that field set apart in
a given instance or for a particular purpose.
Spatial Relationships
Spaces may be related to each other in several
fundamental ways:
▪ Space within a space;
▪ Interlocking spaces;
▪ Adjacent spaces; and
▪ Spaces linked by a common space.
Space within a space
In this type of spatial relationship, the larger,
enveloping space serves as a three-dimensional field
for the smaller space contained within it.
Moore House
California, US. Charles Moore.
Moore House
California, US. Charles Moore.
Interlocking spaces
An interlocking spatial relationship results from the
overlapping of two spatial fields and the emergence of
a zone of shared space.
Plan for St. Peter
Second Version. Donato Bramante and
Baldassare Peruzzi.
Villa at Carthage
Tunisia. Le Corbusier
Adjacent spaces
Adjacency is the most common type of spatial
relationship.

It allows each space to be clearly defined and to

respond, each in its own way, to specific functional or
symbolic requirements.
Chiswick House
London, England. Lord Burlington and
William Kent.

The spaces are individualistic in size,

shape, and form. The walls that enclose
them adapt their forms to accommodate
the differences between adjacent
spaces.
Lawrence House
Sea Ranch, California. Moore-
Turnbull/MLTW.

Three spaces—the living, fireplace, and

dining areas—are defined by changes in
floor level, ceiling height, and quality of
light and view, rather than by wall planes.
Spaces linked
by a common space
Two spaces that are separated by distance can be
linked or related to each other by a third, intermediate,
space.
One-Half House
John Hejduk.
Spatial Organization
▪ Centralized
▪ Linear
▪ Radial
▪ Clustered
▪ Grid
Centralized
A centralized organization is a stable, concentrated
composition that consists of a number of secondary
spaces grouped around a large, dominant, central
space.
Taj Mahal
Agra, India.

The pattern of circulation and movement

within a centralized organization may be
radial, loop, or spiral in form. In almost
every case, however, the pattern will
terminate in or around the central space.
Villa Farnese
Caprarola, Italy. Giacomo da Vignola.

The pattern of circulation and movement

within a centralized organization may be
radial, loop, or spiral in form. In almost
every case, however, the pattern will
terminate in or around the central space.
Villa Farnese
Caprarola, Italy. Giacomo da Vignola.

The pattern of circulation and movement

within a centralized organization may be
radial, loop, or spiral in form. In almost
every case, however, the pattern will
terminate in or around the central space.
National Assembly
Building
Dacca, Bangladesh. Louis Kahn.

The pattern of circulation and movement

within a centralized organization may be
radial, loop, or spiral in form. In almost
every case, however, the pattern will
terminate in or around the central space.
National Assembly
Building
Dacca, Bangladesh. Louis Kahn.

The pattern of circulation and movement

within a centralized organization may be
radial, loop, or spiral in form. In almost
every case, however, the pattern will
terminate in or around the central space.
Linear
A linear organization consists essentially of a series
of spaces. These spaces can either be directly related
to one another or be linked through a separate and
distinct linear space.
Residential
Expansion
St. Andrew’s University, Scotland.
James Stirling.

Linear Sequences of Spaces

Residential
Expansion
St. Andrew’s University, Scotland.
James Stirling.

Linear Sequences of Spaces

Lloyd Lewis
House
Libertyville, Illinois. Frank Lloyd Wright.

Linear Sequences of Rooms

Lloyd Lewis
House
Libertyville, Illinois. Frank Lloyd Wright.

Linear Sequences of Rooms

Romano House
Kentfield, California. Esherick Homsey
Dodge & Davis.

Adapting to Function and Site

Romano House
Kentfield, California. Esherick Homsey
Dodge & Davis.

Adapting to Function and Site

Radial
A radial organization of space combines elements of
both centralized and linear organizations. It consists
of a dominant central space from which a number of
linear organizations extend in a radial manner.
Guggenheim
Museum
Bilbao, Spain. Frank Gehry.

The central space of a radial

organization is generally regular in form.
The linear arms, for which the central
space is the hub, may be similar to one
another in form and length and maintain
the regularity of the organization’s
overall form.
Guggenheim
Museum
Bilbao, Spain. Frank Gehry.

The central space of a radial

organization is generally regular in form.
The linear arms, for which the central
space is the hub, may be similar to one
another in form and length and maintain
the regularity of the organization’s
overall form.
Canberra
Australia. Walter Burley Griffin.
H. F. Johnson
House
Wind Point, Wisconsin. Frank Lloyd
Wright.

A specific variation of a radial

organization is the pinwheel pattern
wherein the linear arms of the
organization extend from the sides of a
square or rectangular central space.
Wingspread
(Herbert F. Johnson House) Wind Point,
Wisconsin. Frank Lloyd Wright.

A specific variation of a radial

organization is the pinwheel pattern
wherein the linear arms of the
organization extend from the sides of a
square or rectangular central space.
Wingspread
(Herbert F. Johnson House) Wind Point,
Wisconsin. Frank Lloyd Wright.

A specific variation of a radial

organization is the pinwheel pattern
wherein the linear arms of the
organization extend from the sides of a
square or rectangular central space.
Clustered
A clustered organization relies on physical proximity
to relate its spaces to one another. It often consists of
repetitive, cellular spaces that have similar functions
and share a common visual trait such as shape or
orientation.
Yeni-Kaplica
(Thermal Bath) Bursa, Turkey.

Spaces Organized by Geometry

Yeni-Kaplica
(Thermal Bath) Bursa, Turkey.

Spaces Organized by Geometry

Palace of King
Minos
Knossos, Crete.

Spaces Organized Around a Dominant

Space
Palace of King
Minos
Knossos, Crete.

Spaces Organized Around a Dominant

Space
Rajarajeshwara
Temple
Thanjavur, India.

Spaces Organized within a Spatial Field

Rajarajeshwara
Temple
Thanjavur, India.

Spaces Organized within a Spatial Field

St. Carlo alle
Quattro Fontane
Rome. Francesco Borromini.

Spaces Organized by Axial Symmetries

St. Carlo alle
Quattro Fontane
Rome. Francesco Borromini.

Spaces Organized by Axial Symmetries

Gamble House
Pasadena, California. Greene & Greene.

Spaces Organized by Geometric Pattern

Gamble House
Pasadena, California. Greene & Greene.

Spaces Organized by Geometric Pattern

Grid
A grid organization consists of forms and spaces
whose positions in space and relationships with one
another are regulated by a three-dimensional grid
pattern or field.
Shodhan House
Ahmedabad, India. Le Corbusier.
Shodhan House
Ahmedabad, India. Le Corbusier.
Eric Boissonas
House I
New Canaan, Connecticut. Philip
Johnson.
Eric Boissonas
House I
New Canaan, Connecticut. Philip
Johnson.
Part 3.2
Proxemics
Proxemics
Proxemics is the study of the symbolic and
communicative role of the spatial separation
individuals maintain in various social and
interpersonal situations, and how the nature and
degree of this spatial arrangement relates to
environmental and cultural factors.
Personal Space
The variable and subjective distance at which one person
feels comfortable talking to another. Also called
personal distance.
LEVELS OF
DISTANCES
▪ Intimate Distance
▪ Personal Distance
▪ Social Distance
▪ Public Distance
Intimate Distance
0-18 inches (0-450mm).

Voluntarily selected gap between people

who are drawn to each other. At this
close range, vision is distorted and any
vocalization is a whisper, moan, or grunt.
Personal Distance
18 inches to 4 feet (450mm-1.20m)
The sense of body heat is lost. Eyesight
begins to focus, and vocalization comes
into play. Although only ritualized touch
is typical, the other person is still at arm’
s length, available to be grasped, held, or
shoved away.
Social Distance
4 to 10 feet (1.20m - 3.00m)

This is the zone of impersonal

transaction. We now have to rely solely
on what we can see and hear.
By the middle of the range, the eye can
focus on an entire face. When the
distance is more than eight feet, it’s OK
to ignore another’s presence and it’s
easy to disengage from a conversation.
Public Distance
10 feet to infinity (3 meters and beyond)

This is the zone where we can no longer

pick up subtle nuances of meaning from
the face or tone of voice. The eye can
take in the whole body at a glance.
It’s the distance of the lecture hall, mass
meetings, and interactions with powerful
figures until such time as they bid you to
come closer.
SEMI-FIXED
FEATURE SPACE
Furniture arrangement in public places
has a distinct relationship to the degree
of conversation.

▪ Sociopetal
▪ Sociofugal
Sociopetal Space
Spaces which tend to bring people
together.
Sociofugal Space
Tend to keep people apart and
discourage conversations.
Part 3.3
Architectural Styles
Style
A particular or distinctive form of artistic expression
characteristic of a person, people, or period.
Moorish
▪ prevalent in Spain and Morocco;
▪ influences were Mesopotamian brick and stucco
techniques;
▪ frequent use of horseshoe arch, and Roman columns
and capitals.
Alhambra
Andalusia, Spain.
Classical
▪ derived from the principles of Greek and Roman
architecture.
Colosseum
Rome, Italy.
Romanesque
▪ emerged from Roman and Byzantine elements;
▪ characterized by massive articulated wall structures,
arches and powerful vaults.
Piazza del Duomo
Piazza dei Miracoli. Pisa, Italy.
Gothic
▪ revolutionary style of construction;
▪ emerged from Romanesque and Byzantine forms;
▪ characterized by a delicate balance of forces, with
thrusts directed throughout a rigid structural lattice.
▪ features were height and light, achieved through a
mixture of skeletal structures and ever increasing
windows.
Chartres
Cathedral
Chartres, France.
Renaissance
▪ developed during the rebirth of classical art and
learning in Europe;
▪ characterized by the use of classical orders, round
arches, and symmetrical proportions.
S. Maria Novella
Florence, Italy. Alberti.
Baroque
▪ more ornate than the Renaissance style;
▪ deliberate in its attempt to impress, and was lavish of
all styles, both in its use of materials and in the effects
it achieves.
Miag-ao Church
Iloilo.
Rococo
▪ final phase of the Baroque;
▪ characterized by a profuse, semi-abstract
ornamentation;
▪ associated with lightness, swirling forms, flowing lines,
ornate stucco work, and arabesque ornament.
Catherine Palace
St. Petersburg, Russia.
Neoclassicism
▪ characterized by monumentality, strict use of the
orders, and sparing application of ornament;
United States
Capitol
Washington, D.C.
Expressionism
▪ buildings were treated not only as functional structures
but also as sculptural objects;
Einstein Tower
Potsdam, Germany. Erich Mendelsohn.
Art Nouveau
▪ style of fine and applied art characterized by fluid,
undulating motifs, often derived from natural forms.
Sagrada Família
Barcelona, Spain.
Art Deco
▪ Style Moderne;
▪ marked by geometric motifs, streamlined and
curvilinear forms, sharply defined outlines, often bold
colors.
Metropolitan
Theater
Manila. Juan Arellano.
International Style
▪ functional architecture devoid of regional
characteristics;
▪ characterized by simple geometric forms, large
untextured, often white surfaces, large areas of glass,
and general use of steel or reinforced concrete
construction.
Barcelona
Pavilion
Spain. Mies van der Rohe.
Bauhaus
▪ The concepts and ideas were characterized chiefly by
the synthesis of technology, craft, and design
aesthetics;
▪ emphasizes on functional design.
Bauhaus School
and Faculty
Dessau, Germany. Walter Gropius.
Brutalism
▪ emphasizes the aesthetic use of basic building
processes, especially of cast-in-place concrete, with no
apparent concern for visual amenity.
Unité d'Habitation
Marseille, France. Le Corbusier.
Post-modernism
▪ reaction against International style and Modernism.
▪ encourages use of elements from historical vernacular
styles and often playful illusion, decoration, and
complexity.
Sony Tower
New York City. Philip Johnson.
Organic Architecture
▪ expression of personal freedom;
▪ harmony between structure and the environment;
▪ integration of individual parts to the whole concept;
▪ all forms should express the natural use of materials.
Fallingwater
Pennsylvania. Frank Lloyd Wright.
Deconstruction
▪ “Neo-modern” or “post-structuralism”;
▪ questions traditional assumptions and takes modernist
abstraction to an extreme and exaggerates already
known motifs.
Imperial War
Museum North
Greater Manchester, England. Daniel
Libeskind.
Evolutionary Architecture
▪ Eugene Tsui, major proponent;
▪ design that grows and develops based on climatic and
ecological elements, as well as advances in
technology;
▪ approached as a living organism as if natural forces
had shaped the structure.
Fish House
Berkeley, California. Eugene Tsui.
Conceptual Architecture
▪ “invisible” or “imaginary” architecture;
▪ represents plans and drawings for buildings and cities
that have never been constructed;
▪ pure research or speculation.
End of Module 3