Architectural Design 1 - Verb (used without object) to make

drawings, preliminary sketches, or plans

DEFINITION OF ARCHITECTURE
FACTORS THAT AFFECT DESIGN
- the art of projecting and constructing
buildings - Totality
o The Royal Spanish Academy - Value
- “Architecture is the starting point for - Time
anyone who wants to take humanity - Resources
towards a better future” - Change
- Iteration
o Charles-Édouard Jeanneret-Gris
- Relationships
/ Le Corbusier
- Competence
- “Form ever follows function.”
- Service
o Louis Sullivan
- “Less is more.” –Mies van der Rohe DESIGN CONCEPTS AND
- “I call architecture frozen music.” ― FORMULATION OF A
Johann Wolfgang von Goethe CONCEPT

DEFINITION OF DESIGN

- the process of envisioning and planning

the creation of objects, interactive
systems, buildings, vehicles, etc
- is user-centered
o users are at the heart of the
design thinking approach
- about creating solutions for people, CONCEPT
physical items, or more abstract systems
- a principle or idea. (Cambridge, 2020)
to address a need or a problem
- explains the ideas of your building design
- to prepare the preliminary sketch or the
approaches and solutions
plans for (a work to be executed),
o must be supported by reasons
especially to plan the form and structure
or rationale
of to design a new bridge
- To plan and fashion artistically or skillfully
GENERAL CONCEPT
- General Common Idea of the project
- Example:
o The design of the proposed
residence will be bahay-na-bato,
since the project is located in
Vigan City, Ilocos Sur. The
character of the proposed
residence must blend with the
historical and cultural values
conserved within the city.
Modern tropical solutions will be
applied for the efficiency of the
project, as well as other
sustainable solutions to lessen
operational costs for the
residence
PLANNING CONCEPT
- ideas for the plan layout
o Measurements of spaces
o Code compliance regarding the
most stringent parameters
o Adjacency and allocation of
spaces
o Arrangement of Furniture
within a space
- Example:
o The planning of the residence will
have the same layout as of the
typical bahay-na-bato, in which
the habitable spaces are located
at the upper level of the house.
Sizes of spaces will still be in
accordance to the provisions of
the National Building Code of the
Philippines and other building laws
in order for the project to be
compliant to the provisions of
the law. Spaces are laid-out to
be well ventilated, considering
the climatic factors of Vigan
City and the macroclimate of
the Philippines as well.
FORM CONCEPT
- ideas for the geometric property of a
space or configuration of the building,
which involves the following:
o Shape
o Orientation
o Bulk/Volume of the building
- Example:
o The shape of the building will be
regularly polygonal, where the
lines are aligned to two axes. To
promote tropical and
sustainable solutions in terms of
 lighting and ventilation, most
bedrooms are placed with their
windows facing the directions of
the prevailing winds. The height
of the building will be minimal,
and at the same time high
enough to accommodate
natural ventilation in the
interiors.
FAÇADE CONCEPT
- ideas for exterior face of the building,
which involves the following:
o Character or style
o Exterior Material
o Pattern of Façade elements
- Example:
o The traditional bahay-na-bato
during the Spanish Colonial Era
will be applied in the exterior to
conserve the character of the
place, not just within the
project site, but also to the
surrounding environment as
well. Ground level exterior
finishes will be built with
concrete hollow block walls that
is finished with cement plaster
with patterns of the coquina,
and the second level will be
applied with hardwood exterior
finishing. Each window will have a
media agua to accommodate
sun protection devices for the
interiors...
MATERIAL CONCEPT
- Emphasizes to the materials used for a
space or a building, which involves the
following:
o Finishes of each face within an
interior space
o General Materials for the building
and components
- Example:
o Most of the interiors of the
upper level will be constructed
with reinforced concrete and
wood partitions. The partition
walls will have perforations at
the top part for lighting and
ventilation purposes towards
the inner spaces. Walls for the
Toilet and kitchen sink will be
made of conventional concrete
hollow block wall system since
these are prone to excessive
moisture....
STRUCTURAL CONCEPT
- Focuses on the strength aspect of the
building, which involves the following:
o Position of the structural
elements
o Approximate sizes of the
building
o Material for supports
 o Weight of the loads
- Example:
o Supports for the house will be
made of reinforced concrete.
Exterior supports will be cladded
with hardwood to conserve the
character of the façade. Vertical
supports will be aligned to the
grid for stability purposes. The
height of the ground floor must
be high enough to
accommodate the size of the
lateral support of the upper
level....
UTILITY CONCEPT
- Determines the solutions on how the
building will function through the
provision of necessary spaces, which
involves the following:
o Mechanical
o Ventilation and Air-conditioning
o Vertical Transportation
o Electrical
o Power
o Lighting
o Electronics and Communication
o Automation
o Communication Networks
o Plumbing
o Water Supply and Storage
o Fire Protection
o Sprinkler Systems
o Alarm Systems
o Sanitary
o Drainage and Sanitation
- Usually presented graphically, showing the
interrelationships of the utilities
- applied to large projects.
- Each utility is presented and explained
individually
GENERATING IDEAS IN ARCHITECTURE
- involves the use of our left and right
brain
- requires both creative and logical ideas in
the formulation of design
- involves the balance of
o Creativity and Analysis
o Needs for the project and Wants
of the users
o Cost vs. Comfort
o Cost vs. Strength
o Form vs. Compliance
- Architecture begins with an idea or a
Concept
o Determine the preferences of
the user
o Analyze the project location and
determine the existing site
conditions
o Determine the design limitations
based on existing laws for
development
 ▪ PD 1096: National
Building Code of the
Philippines
▪ RA 9514: Fire Code of
the Philippines
SPACE PROGRAMMING
▪ BP 344: Accessibility Law
o Analyze the needs and wants of
the user for the project
o Formulate a concept
o Enumerate the spaces for the
building/project:
▪ Required Facilities
▪ Necessary Services
▪ Applicable Utilities
▪ Attractive Accessories
and Amenities
o Conduct and Architectural
Programming for your design to
support your concept
▪ Space Interrelationship
Matrix
▪ Bubble Diagram
▪ Space Programming
o Apply the concepts in your
design
SPACE INTERRELATIONSHIP MATRIX
- Shows the relationship of the project
required
o some spaces may be adjacent to
each other but are not directly
accessible from each other
o some spaces are directly
accessible to each other
o other spaces have no
relationship to one another
- Used for determining the sizes of the
rooms, based on the parameters of the
users
- involves minor area computation
o determining the standard sizes
of the furniture or the area
occupied by each user based on
their activity
- circulation must not be neglected in the
computation of the spaces
- QUICK COMPUTATION USING FURNITURE
AND USER AREA METHOD
o Required area for Living Room
with 40% room circulation =
[Area of large sofa (in sq. m.) +
(Area of small sofa (in sq. m.) x
2) + Area of Center Table] x 1.40
- QUICK COMPUTATION USING AREA
PARAMETER METHOD
o Required area for office space
with 30% circulation = [No. of
users x user parameter (area per
user in sq. m. including
furniture)] x 1.30
- Area per user can also be determined
from Sec 807 of the National Building
Code of the Philippines(2004).
 o For office buildings, PD 1096 - Total Area of the Entire Building < TGFA
requires a minimum air volume - Deduct the Floor Areas of the Spaces
of 12.00 cubic meter per person, excluded in the GFA
and you have a ceiling height of - Remaining Total Floor Area < GFA
2.40 m o GFA excludes:
o Divide the air space by the ceiling ▪ Parking areas,
height to get the driveways, services, and
“approximate” user parameter utilities
that will be multiplied to the ▪ Vertical penetrations
number of users in the space ▪ Uncovered areas for
𝐴𝑖𝑟 𝑆𝑝𝑎𝑐𝑒 14.00 𝑐𝑢 𝑚.
o = helipads
𝐶𝑒𝑖𝑙𝑖𝑛𝑔 𝐻𝑒𝑖𝑔ℎ𝑡 2.40 𝑚
▪ AC cooling towers
5.00 𝑠𝑞𝑚/𝑢𝑠𝑒𝑟
▪ ACCU balconies
- Determining space size can also be done
▪ overhead water tanks
manually by using the plan dimensions of
▪ roof decks
furniture/fixture
▪ laundry areas and cages
APPLICATION TO DESIGN ARCHITECTURAL ▪ swimming pools
PROGRAMMING ▪ Jacuzzis
▪ Terraces
- Group the spaces contained within each
▪ gardens, courts or
storey
plazas
- Sort the spaces according to function
▪ balconies more than 10
o Amenities: Optional, yet
square meters
Beneficial
▪ fire escape structures
o Facilities: Main Spaces
o Services: Support Spaces BUBBLE DIAGRAM
o Utilities: MEPFS
- Shows space accessibility and patterns
- Compute for the Total Floor Area of
- Defines the arrangement of spaces for
Each Storey
the structure
- Total Floor Area of Each Storey < Most
- Must show the relationship of the access
Stringent AMBF
of each level of the building
- Compute for the Total Floor Area of the
- Access points towards the building must
Entire Building
properly be indicated
- Each line and arrows matter in presenting - Enclosed spaces placed inside a larger
your bubble diagram space, in which the smaller space cannot
- Enclosed spaces adjacent and directly be accessed from the larger space
accessible to one another

- Open or partially enclosed small space

- Enclosed spaces accessible to one
placed inside an enclosed large space, in
another, but are not adjacent with each
which the smaller space is presented with
other
a different line type to indicate that it is
not fully enclosed

- Enclosed spaces adjacent to one another,

but are not connected nor accessible to
one another - Enclosed spaces connected to a common
space

- Enclosed spaces placed inside a larger

- Example:
space, in which the smaller space can be
accessed from the larger space
 DEVELOPMENT CONTROLS - Expressed in percentage
- AMBF/TLA
➢ REFER TO NBCP PD1096
Example:
SITE DEVELOPMENT LIMITATIONS
- TLA = 301.00 sqm
- AMBF = 150.00 sqm
- AMBF/TLA = 150.00sqm/301.00 sqm x 100
- PSO = 50 percent
➢ ALLOWABLE MAXIMUM BUILDING
FOOTPRINT (AMBF)
- Expressed in unit of area (square meters
or square feet)
- W2 x D2
➢ TOTAL LOT AREA (TLA) Example:
- The property itself
- Setbacks
- W1 X D1
- PSO + TOSL ; given that TLA = 100 percent Front Side Rear
4.50 m 2.00 m 2.0
Example:
- W2 – 10.00 m ; D2 – 15.00 m
- R-1 Lot (Single Detached Dwelling Unit)
- W1 – 14.00 m ; D1 – 21.50 m - W2 x D2 = 10.00 m x 15.00 m
- AMBF = 150.00 sqm
- W1 x D1 = 14.00 m x 21.50 m
- TLA = 301.00 sqm

➢ TOTAL OPEN SPACE OF THE LOT (TOSL)

- ISA + USA
➢ PERCENTAGE OF SITE OCCUPANCY (PS0)
 - Y1 + (Y2 + Y3 + Y4) - ISA = 88.00 sqm (30 percent of TLA)

Example:

- Y1 + (Y2 + Y3 + Y4)
- 63.00 sqm + (30.00 sqm + 28.00 sqm +
30.00 sqm)
- TOSL = 151.00 sqm

➢ UNPAVED SURFACE AREA (USA)

- Softscape: plants, green areas, lawns,
saturates storm water

Example:

- Yard 1 = Front Setback x W1

o 4.50 m x 14.00 m
➢ IMPERVIOUS SURFACE AREA (ISA)
o USA = 63.00 sqm (20 percent of
- Hardscapes, pathways, roadways,
TLA)
pavements, constructed outdoor
elements
- (Y2 + Y3 + Y4)

Example:

- Yard 2 = Side Setback x D2

o 2.00 m x 15.00 m
o Y2 = 30.00 sqm
- Yard 3 = Rear Setback x W1
o 2.00 m x 14.00 m
o Y3 = 28.00 sqm ➢ MAXIUM ALLOWABLE CONSTRUCTION AREA
- Yard 3 : Side Setback x D2 (MACA)
o 2.00 m x 15.00 m - PSO + ISA
o Y4 = 30.00 sqm - AMBF + ISA
- (30.00 sqm + 28.00 sqm + 30.00 sqm)
Examples: o Initial AMVB – Volume above
Slope of Angular Plane
- PSO = 50 percent
➢ INCREMENTAL SETBACK
- ISA = 30 percent
- FRONT
- PSO + ISA = 50 percent + 30 percent
o Defined by the Slope of Angular
- MACA = 80 percent of TLA
Plane
➢ BUILT ELEMENTS WITHIN THE SITE
- SIDE & REAR
➢ PSO/AMBF AND ISA
o Figure VIII.G.13 of PD1096
➢ FLOOR TO AREA RATIO (FLAR)
- Figure VII.G.1 of PD1096

➢ GROSS FLOOR AREA (GFA)

BUILDING VOLUME - TLA x FLAR
➢ TOTAL GROSS FLOOR AREA (TGFA)
- TGFA = BHL in number of floors x AMBF
- TGFA = GFA x Multiplier (Table VII.G.2 of
PD1096)
- TGFA = (BHL in number of floors x AMBF)
– Area to be deducted by incremental
setbacks

Principles and Elements

of Design

➢ PRINCIPLES OF DESIGN
- concepts used to organize or arrange the
➢ BUILDING HEIGHT LIMIT (BHL) structural elements of design
- Table VII.1 (2nd) or Table VII.2 of PD1096 - affects the expressive content, or the
➢ ALLOWABLE MAXIMUM VOLUME OF THE message of the work
BULDING (AMVB)
BALANCE
- INITIAL AMVB
o AMBF x BHL in meters - the concept of visual equilibrium
- FINAL AMVB - relates to our physical sense of balance
- a reconciliation of opposing forces in a o can be best imagined by
composition that results in visual envisioning a literal balance scale
stability that can represent the visual
- SYMMETRICAL BALANCE "weights" that can be imagined
o having equal "weight" on equal in a two-dimensional
sides of a centrally placed composition
fulcrum o possible to balance a heavy
o referred to as formal balance weight with a cluster of lighter
o BILATERAL SYMMETRY weights on equal sides of a
▪ When the elements are fulcrum
arranged equally on ▪ a cluster of small
either side of a central objects balanced by a
axis large object
▪ axis may be horizontal o possible to imagine objects of
or vertical equal weight but different mass
o RADIAL SYMMETRY on equal sides of a fulcrum
▪ by arranging elements ▪ a large mass of
equally around a central feathers versus a small
point mass of stones
o APPROXIMATE SYMMETRY o Unequal weights can even be
▪ equivalent, but not balanced by shifting the fulcrum
identical forms are point on our imaginary scale
arranged around the
PROPORTION
fulcrum line
- ASYMMETRICAL BALANCE - the relative size and scale of the various
o informal balance elements in a design
o more complex and difficult to - the relationship between objects, or
envisage parts, of a whole
o involves placement of objects in - Our most universal standard of
a way that will allow objects of measurement is the human body
varying visual weight to balance o a sofa in the form of a hand =
one another around a fulcrum distortion of expected
point proportion
 ▪ becomes the center of o sameness
attention in the room - ALTERNATION
- Architectural spaces intended to impress o Mix of two or more
= scaled to a size that dwarfs the human components
viewer - PROGRESSION OR GRADATION
o a device often used in public o Large to small, small to large
spaces o light to dark, dark to light
▪ churches - TRANSITION
▪ centers of government o Leads the eyes without
▪ corporate spaces interruption
• wishes to - OPPOSITION OR CONTRAST
impress o Abrupt change or no abrupt
customers change
with its power - RADIATION
and invincibility o Radial balance
- the proportions of a private home = in o Spokelike baance
scale with human measure, and as a result
EMPHASIS
it appears:
o more friendly - Focal points
o comfortable - An object or area where the eye is drawn
o less intimidating first
- Use of appropriate scale in surface design UNITY
is also important
- Compatibility of elements
o an overly large textile design can
- Harmony
overwhelm the form of a
garment or a piece of furniture
➢ ELEMENTS OF DESIGN
SCALE - Concrete
- overall size - Quantifiable components of any design
- largeness or smallness of a room - Transforms principles of design into
reality
RHYTHM
SPACE
- flow of elements
- REPETITION - Open and closed areas
 - May be positive (filled) or negative (open) LIGHT
o Avoid creation of negative
- Natural or artificial, or both
space by pulling furniture pieces
away from the wall COLOR

SHAPE - Hues
- Light to dark values
- Two-dimensional outline
- Color schemes
FORM
VENUSTAS, FIRMITAS, UTILITAS
- Three-dimensional shape
VITRUVIUS MARCUS POLLIO
MASS
- famous Roman architect in the 1st
- Weight century BC
- Density - an architect to the emperor Augustus
- Relative solidity of a form
"De architectura“
- May be actual or visual
o Dark pieces are heavier - a summary of his own experience in the
o Glass seems lighter field of architecture in 10 volumes
o Bold and large-scale patterns - written 15 BC and dedicated to the
have more mass emperor
o Heavy textured pieces are more - the only direct source on antique
massive architecture
- had a considerable influence on the Middle
LINE
Ages and Renaissance
- Connection between 2 points - explained the theory of the architectural
TEXTURE order of pillars, as well as shapes and
types of temples
- Smoothness or roughness
- introduced rules for the design of houses
- May be read visually or actually touched
- asserted that there were three principles
PATTERN of good architecture:
o FIRMITAS (DURABILITY)
- Repetitive or varied order of things
▪ should stand up
robustly and remain in
good condition
 o UTILITAS (UTILITY) ▪ (such as Ruskin’s
▪ should be useful and “sacrifice” and
function well for the “obedience”)
people using it
o VENUSTAS (BEAUTY)
▪ should delight people
and raise their spirits

- GIEDION
o “space-time’

- VITRUVIUS
o De Architectura

- JULIEN GUADET
- ÉTIENNE-LOUIS BOULLÉE
o 18th-century French architect
o the fulfillment of function was
the sole essence of architectural
beauty ethical values
o 19th century of architectural
theory
o reaction against the creation of
a chair of aesthetics at the Paris
École des Beaux-Arts
o considered it his duty to devote
his lectures to the study of
architectural planning
o pursued by many later scholars
 - the visual criteria were extended to
include
o beauty
o picturesqueness,
o ugliness
- “Beauty in architecture IS essentially

- JACQUES-FRANÇOIS BLONDEL based on harmonious proportions,

mathematically conceived” – Le
o in his nine-volume Cours
Corbusier
d’architecture (1771–77;
- The first is the notion that architecture
“Architecture Course”)
is essentially the “art of building.”
o observed that considerations of
- The second is that the structures serving
“decoration” are almost
such functions may be considered as
entirely within the domain of
taking logical precedence over them
the theory of architecture
o uses or functions of a building
▪ neither distribution
tend to change
(utilitas) nor
construction (firmitas) FORM
can be explained
properly without
practical experience

AESTHETICS

- ALEXANDER GOTTLIEB BAUMGARTEN

o German philosopher and
educator
o introduced the neologism
FORM
aesthetics about 1750
- the visual merits of all artifacts tended - a reference to both the internal
to be assessed more subjectively than structure and external outline
objectively - often in the shape of a three-dimensional
o critics lumped together as the mass or volume
fine arts
 - any positive element you place within the - VOLUME
negative space of your design o a plane extended
- SHAPE o carry more weight by default
o the form of an object than surfaces
o its external boundary, outline, or ▪ the weight of both can
external surface be increased or
- SIZE decreased by altering
o the dimensions of the form the characteristics of
o proportions and scale either form
- COLOR
TRANSFORMATION OF FORM
o will affect its visual weight
- TEXTURE
o will affect how light is reflected
or absorbed
- POSITION
o where the form is located in - DIMENSIONAL TRANSFORMATION
relation to its environment o altering one or more of its
- ORIENTATION dimensions
o the position of the form in o still retain as a member of a
relation to the ground, family of a form
o compass points or the person o CUBE
viewing the form ▪ can be transformed
PRIMARY ELEMENTS OF FORM into similar prismatic
forms through discrete
changes in
• height
• width
- POINT
o a position in space • length

- LINE ▪ be compressed into a

planner form
o the extension of a point
▪ be stretched out into a
- SURFACE OR PLAN
linear one
o the extension of a line.
 o SPATIAL TENSION

- SUBTRACTIVE TRANSFORMATION
o EDGE TO EDGE CONTACT
o by subtracting a portion of its
volume
o the form can retain its initial
identify or be transformed into
a form of another family o FACE TO FACE CONTACT
o CUBE
▪ can retain it identify as
even though a portion
of it is removed
▪ be transformed into a o INTERLOCKING VOLUMES
series of regular
polyhedrons that begin
to approximate a
sphere
o CENTRALIZED FORMS
▪ Consists of a number
of secondary forms
clustered about
dominant central form
- ADDITIVE TRANSFORMATION o LINEAR FORMS
o by addition of elements to its ▪ Consists of forms
volume arranged sequentially in
o these two determine whether a row
the identity of the initial form is o RAFIAL FORMS
altered or retained ▪ Compositions of linear
▪ the number and relative forms that extend
sizes of the elements outwards from the
being attached center radially
 o CLUSTERED FORMS - Building forms convey information about
▪ Consists of forms that the structure and convey different
are grouped together connotations or feelings
by proximity or the
Form and Space
sharing of a common
visual trait FORM AND SPACE
o GRID FORMS
- the shape or configuration of a building
▪ Modular forms whose
- constitute primary elements of
relationship are
architecture
regulated by three
dimensional grids SHAPE

MASS IN ARCHITECTURE - the configuration of surfaces and edges

of a two-or three-dimensional object
- combines with shape to define form
- perceived by contour or silhouette
- a three-dimensional shape having definite
- PLATONIC SOLIDS
width, length and height
o Volumes generated by primary
- refers to the size or physical bulk of a
shapes
building
▪ sphere and cylinder =
- can be understood as the actual size, or
circle
size relative to context
▪ cone and pyramid =
- Mass + shape = form
triangle
SPACE AND MASS ▪ cube = square
o establish the basis for most
- the raw materials of architectural form
architectural shapes and forms
- from them the architect creates an
- VOLUMETRIC SHAPES
ordered expression through the process
o contain both solids and voids, or
of composition
exteriors and interiors
MASS COMPOSITION - Some shapes are formed through an
additive process
- done in a way that harmonious unity of
- other shapes are conceptually subtracted
structure is maintained
from other solids
- done from both plan and elevation of
- Shape preferences may be culturally
building
based or rooted in personal memory
 o a dome or steeple may connote
religious architecture in some
cultures
o a house often depicts a square
shape with pitched roof
▪ a shape that many
PROPORTION
houses do not possess
in another culture.
SCALE
- relative size as perceived by the viewer
- "Whenever the word scale is being used,
something is being compared with
something else." (Moore: 17)
o typically established between
either familiar building elements
(doors, stairs, handrails) or the
human figure
- may be manipulated by the architect to
make a building appear smaller or larger
than its actual size
- Multiple scales may exist within a single
o schools and child development
centers
▪ should be scaled in
relation to the actual
size of children
- the relationship of one part to the other
parts, and to the whole building.
- Numerous architectural proportioning
systems have developed over time and in
diverse cultures
- ARITHMETIC
o The Ancient Greeks used clear
mathematical ratios for both
visible and auditory phenomena,
such as architecture and music.
o Pythagoras emphasized the
importance of numbers.
o GOLDEN SECTION OR GOLDEN
MEAN
▪ both arithmetic and

building façade geometrical

▪ prevalent in both the
o to achieve a higher level of
natural world and
visual complexity
classical architectural
- HUMAN SCALE
design
o describe building dimensions
▪ a:b = b (a+b) ; a is to b,
based on the size of the human
body. as b is to the whole

o "Anthropomorphic scale." ▪ apparent in the

Fibonacci series of
o may vary by culture and
integers
occupant age
 o FIBONNACI SEQUENCE buildings or rooms, harmonious
▪ 1,1,2,3,5,8,13,21,34,55, etc. proportion results
▪ Each succeeding o ALBERTI
number is the sum of ▪ early Renaissance
two previous numbers. architect
▪ forms the basis for a ▪ credited the harmony
spiral of Roman architecture
• snail's shell and the universe to this
• the spiral ratio system
volutes of o The Renaissance architect
ionic column Palladio, along with Venetian
capitals musical theorists
- GEOMETRIC ▪ developed a more
o In Classical architecture, the complex system based
diameter of a classical column on the major and
provided a unit of measurement minor third
that established all the ▪ 5:6 or 4:5.
dimensions of the building, from - MATERIAL AND MANUFACTURED
overall dimensions to fine detail. PROPORTIONS
o works for any size of building o Most contemporary buildings are
since the column unit fluctuates proportioned according to the
while the internal relationships industry standard unit size the
remain constant primary mass-produced building
o Drawings of the "classical materials employed

orders” explain this set of o Based on the inherent properties

of each material, conventional
relationships geometrically
sizes and proportions have
- HARMONIC
resulted.
o The ancient discovery of
▪ bricks, concrete
harmonic proportion in music
masonry units, light
was translated to architectural
wood members,
proportion
plywood, and gypsum
o posits that when the ratio of
wallboard are always
1:2, 2:3, or 3:4 is applied to
 fabricated and sold in TEXTURE AND COLOR
conventional sizes
- inherently linked to materials
- STRUCTURAL PROPORTIONS
- can be used to alter the perception of
o The structural capacity of a
any given form
material results in distinct
o the shift from a light to dark
proportions
paint color can radically reduce
▪ The maximum span and
the apparent size of a room
depth of a stone lintel
o a smooth stucco or rough brick
is very different than a
finish can alter the size and
steel lintel because of
visual weight of a house
different structural
properties LIGHT

RHYTHM - "Architecture is the masterly, correct,

and magnificent play of masses brought
- The reoccurrence or repetition of
together in light. Our eyes are made to
architectural elements, shapes, structural
see forms in light; light and shade reveal
bays, windows, etc. establishes a rhythm,
- may be regular or complex these forms."
- A static building possesses a rhythm, o Le Corbusier
- the movement inhabitants through a POSITIVE AND NEGATIVE SPACES
building may also establish a pattern or
rhythm of human movement

ARTICULATION

- How the building surfaces come together

to define form
- Factors that contribute to articulation:
o The treatment of edges, corners
- POSITIVE SPACE
o surface articulation of windows
o the areas that are the subjects,
(horizontal, vertical, static field),
or areas of interest.
o the visual weight of a building
- NEGATIVE SPACE
o area around the subjects, or
areas of interest
 ON DESIGNING SPACES
ANTHROPOMETRICS
- the dimensions of the human form
- must be standard of measure for
interior design
- STANDARD CLEARANCSES:
o .90 M OR MORE – Major traffic
paths
o .30 M WIDE – Minimal clearance
for traffic
o .30 M – Seating pieces for piano,
desks, coffee table/small table
▪ gives room for the
user to extend his/her
legs
o .60 M/PERSON – Comfortable
dining
o .90 M – space behind for passage
serving in a seated dinner
o .30 M – required space for
getting in and out of chair
o .90 M – Bed to dresser space
o .90 M – Space between 2 beds
o .30 M – Bed to wall clearance
o .90 M to 1.00 M – Bathroom
clearance for non-disabled
PROXEMICS
- Edward T. Hall
- The way people use space; Related to
culture
o .30 M – signifies intimacy,
affection, comfort, protection
and physical aggression
o .30 M TO 1.20 M – personal
space
o 1.2 M TO 3.6 M – social distance
o 3.6 M OR MORE – public distance
CROWDING
- Paul Chombart de Lauwe
o LESS THAN 8-10 SQM/PERSON –
space crowding exists and
illness, stress are rampant
o MORE THAN 14 SQM/PERSON –
lesser stress experiences
TERRITORIALITY
- Deals with the need to have a space of
our own
IN SPACE DESIGNING, WHAT IS ACCEPTABLE?
➢ SECTION 806. SIZE AND DIMENSIONS OF
ROOMS.
- Minimum sizes of rooms and their least
horizontal dimensions shall be as follows:
o 6.00 SQM, 2.0 M – room for
human habitation
o 3.00 SQM, 1.5 M – kitchen
o 1.2 SQM, 0.9 M – toilet and bath
FLOOR PLAN
- a drawing to scale of the relationships
between
 o rooms - CLOSED FLOOR PLAN
o spaces o Walls separate rooms
o traffic patterns o Greater zone separation
o other physical features at one o Greater privacy
level of a structure
ALPHABET OF LINES
- showing a view from above
- A floor plan consists of:
o Exterior and Interior walls
o Location of Windows and Doors
o Furniture and Fixtures
o Dimensions
▪ usually drawn between
the walls
▪ specify room sizes and
wall lengths - commonly used in technical drafting
o Notes for constructions - The most used in architectural drawings
o Symbols for materials, electrical are:
and mechanical fixtures etc., o VISIBLE LINES
o Name of rooms and spaces ▪ outline of buildings and
o Patios and Walkways walls
o Material Symbols o HIDDEN LINES
o Drawing Scale ▪ edges of surface that
o Fireplace are not visible
o Stairs o DIMENSION LINES
▪ size and locations
TYPES OF FLOOR PLANS
o EXTENSION LINES
- OPEN FLOOR PLAN ▪ termination points of
o Few divisions or wall that dimension
Separate different zones o BREAK LINES
o Spacious ▪ object continues, but
o Flexible for a variety of uses the complete view is
not shown
o SECTION LINES
 ▪ feature that has been o Except for location plans
sectioned - Recommended scales for architectural
▪ crosshatch lines use in the metric system
o CUTTING PLANE LINES o 1:1250, 1:1000, 1:500 – Location
o PHANTOM LINES Plan and Key Plans (often
▪ alternate positions requested by planners)
▪ repeated details o 1:200, 1:100 – Site Plans, Sketch
▪ paths of motion schemes, etc.
SYMBOLS o 1:100, 1:50 – Plan drawings (floor
plans, elevations, sections)
- Every feature is represented by a
o 1:20 – Room plans, interior
standardized symbol on a plan
elevations
- help to define elements such as
o 1:10, 1:5 – Component / detail
o floor levels
drawings
o lighting types and service
- RATIO SCALE
locations
o A scale of 1 to 100 is indicated
o electrical symbols
on a drawing using the code 1:100
o plan, elevation
o This can be interpreted as
o section symbols
follows
o furniture
▪ 1 cm (0.01 m) measured
o materials
with a ruler on the plan
USE OF SCALE AND LEGEND would need to be
- Plans are usually "scale drawings" multiplied by 100 to give
the actual size of 1
o drawn at a specific ratio relative
meter
to the actual size of the place
▪ 1:100 means the real
or object
measurements are 100
- Various scales may be used for different
times longer than they
drawings in a set
are on the plan
- 1:100 M – minimum scale
- SCALE BARS
- the scale used should be stated on the
drawing (scale bar and/or measured
dimensions)
 o a linear graphic that is divided
into equal segments
o used to measure distances on
drawings and/or maps that are
produced to a set scale
o not necessarily printed to one
DRAWING LEGEND
- LEGEND
o used to explain or define a
symbol or special mark placed on
a blueprint
o possibly both self-contained, or
alternatively divided by double
doors
o The circulation route should not
be through a living area
▪ except in the smallest
dwellings
- A door to the garden is desirable
- A good deal of wall space is required
o for bookshelves, pictures,
ornaments etc.
- A fireplace is often regarded as providing

LIVING ROOM a focal point and atmosphere of other

dining spaces
LIVING/RECEPTION ROOMS o it may not need to be a
- Its purpose includes: traditional solid-fuel fireplace.
o Relaxation DINING ROOM
o social activities
o entertainment DINING ROOM

o children's play area - often combined with the living room in

o possibly, occasional dining smaller dwellings
(depending on the size) - ORIENTED EAST – if intended as primarily
- Requires: a breakfast room
o A friendly, informal atmosphere - ORIENTED SOUTH/WEST – if primarily a
is generally required
room for lunch or evening meals
o good natural light and views
- A reasonable layout for eight people
▪ preferably over a
occupies about 12 sqm
garden
o allowing for storage and
o away from noisy areas
circulation
▪ the front road etc.
- In larger dwellings, more than one living
room may be provided
 KITCHEN - U-SHAPED

KITCHENS

- should have direct access to the dining

area
o a serving hatch may be
sufficient
- Facilities are required for: - L-SHAPED
o meal preparation and serving
o eating occasional meals
▪ perhaps breakfast
o washing up
o food storage
o utensil, and crockery storage.
- Ancillary activities can include - G-SHAPED
o clothes washing
o general household mending
o cleaning young children’s play

TYPES OF KITCHENS

- SINGLE WALL OR SINGLE LINE

- ISLAND

- GALLEY/CORIDOR

WORKING SEQUENCE

- relates to sequence of fitments

- worktop-cooker-worktop-sink-worktop
 o the basis of modern domestic
kitchen planning
- WORK TRIANGLE
o The distance the user has to
walk between sink, cooker and
refrigerator or store
o For the normal family house, the
combined length of the sides of
the triangle should be between
5.50 and 6.00m
▪ The distance between
the sink and cooker
SHOULD NOT exceed
1.80m, and SHOULD NEVER
be crossed by through-
circulation
SINKS
- best placed under windows
- a double bowl is often considered
essential
- should be 3.00m maximum from the
waste stack or external gully, with
adequate standing room in front
- should be kept away from corners
o except in small kitchens
COOKERS AND WORKTOPS
- COOKER
o no ideal location for the cooker
▪ if in a continuous
worktop, the work flow
will be interrupted
▪ if outside the work
triangle, there will be
extra travel distance
o SHOULD NEVER be placed in front
of windows
o should be provided with a
ventilating hood
o SHOULD NOT be placed below wall
cupboards
o a gas cooker SHOULD BE AWAY
from locations where draughts
might blow out burners
o Low-level cookers require a
space of at least 1.20m in front
for access
o Split-level cookers with separate
hob and wall oven are
sometimes popular
- WORKTOPS
o should be provided on each side;
where a cooker adjoins a corner
fitting a return of at least
400mm should be allowed
▪ for easy standing and
access space
o Adjacent worktops should be AT
THE SAME LEVEL as a cooker top:
 ▪ if a change of level is
essential, it should be
atleast 400mm from
the cooker
REFRIGERATOR
- the most difficult item of kitchen
equipment to position
- SHOULD BE ADJACENT to a worktop space
- fridge door SHOULD OPEN AWAY from the
work area
o for easier food access
- SHOULD NOT block passageways or hit
another door when opening
o should have a clearance of at
least 450mm above worktops
- LARDERS
o Rare
o should be ventilated to outside
air (the vent being protected by
fly-proof screen)
o should not contain heating or
hot water pipes, norreceive
direct sunlight.
- FREEZER
o need not necessarily be in or
adjacent to the kitchen
o if placed in an outside storage

KITCHEN STORAGE SPACE area, it may need to be locked

to prevent theft
- required in or adjacent to the kitchen for
storing food and cooking equipment bedROOMs
- need for general cleaning and laundering BEDROOMS
equipment
- Facilities are required for:
- Dry goods SHOULD BE ENCLOSED and readily
o Sleeping
accessible from the cooker and sink
o Relaxation
positions
o Leisure
- FLOOR UNITS
▪ Computers
o best used for storing heavy or
▪ music
infrequently used articles
o studying storage
- WALL UNITS
▪ clothes
o economical in space
▪ personal items and linen
o provide convenient storage for
- Ancillary facilities might include:
smaller and frequently used
o Wash basin adjoining separate
items
dressing room
o should be shallow enough to
o Shower
allow full use of worktops below
- SHOULD NOT be located under or adjacent
to circulation areas or rooms of a
different function in another dwelling
- Position of bed
o important in creating a feeling
of security
▪ a stable, self-reliant
person = bed positioned
away from walls
o Bed-making requires clear space
of at least 400mm (preferably
700) beside bed
o the choice of bed position is
restricted by the shape and size
of the bedroom
o SINGLE BEDS – placed along walls
o DOUBLE OR TWIN BEDS – placed
head-to-wall.
- A sense of restfulness depends on:
o wall coverings and colors
o shape of bed
o orientation
▪ head towards north
o relation to daylight
▪ looking away from
window
o relation to door
▪ looking towards door
- If a waterbed is required, it should be
borne in mind that, fully loaded, it may
impose a floor load of up to 2 or even 3
tonnes
bathROOMs
BATHROOMS
- Facilities are required for:
o washing and bathing WC (or may
be in separate compartment)
storage
- Additional facilities possibly required:
o space for bathing young children
elderly or disabled equipment
o separate shower
o bidet
- Economy in services arrangement may be
more important than the layout plan
o particularly waste and hot pipes
▪ length is limited by
building regulations
(unless vent pipes or
special designs are used)
- space should be available for at least one
item of bathroom furniture
o such as a stool or laundry box
- FITTINGS
o towel rails and toilet roll holders
o should not obstruct activity
spaces
SHOWERS
- use less water than baths
o note that power-showers can
use more water
- more hygienic
- take up less space
 - Fixed shower arms should be mounted at - consider ground-floor location
a height of 1.9m o preferable for elderly or disabled
- a rail with an adjustable hand shower visitors
should be used ▪ door locks to be
openable from outside
BIDET
- Possible additional requirements:
- still rare o consider linkage to bathroom
- more common in higher priced dwellings o keep service routes as

WINDOWS economical as possible

o pump extracts for wastes
- WINDOWS ABOVE BATHS ▪ allow WCs in previously
o difficult to open or to clean unacceptable locations
without standing in bath ▪ possible noise problem
o may limit privacy and cause if adjacent to study
draughts unless well insulated etc.
- WINDOWS BEHIND WASHBASINS o bidet
o difficult to reach
o the wall above a washbasin is
best used for a mirror or
medicine cabinet (which should
be fitted witha safety lock to
prevent access to children).

ELECTRICAL SOCKETS

- not permitted in bathrooms other than

a specially designed shaver point
o should be out of reach of bath.
- Switches to light fittings must be outside
the bathroom or cord-operated.

WATER CLOSET

- Facilities required are:

o flushing lavatory
o washbasin