THEORY OF ARCHITECTURE o Legal restraints

o Historical tradition and

THEORY - Abstract thought or precedents
speculation resulting in a system of COMPATIBLE WITH ITS CONTEXT
assumption or principles used in • Site and environment
analyzing, explaining, or predicting • Climate: sun, wind, temperature,
phenomena, and proposed or and precipitation
followed as a basis of action. • Geography: soils, topography,
TYPES OFTHEORY vegetation, and water
1. DESCRIPTIVE - simply explains • Sensory and cultural
events or phenomena. characteristics of the place • CIRCULATION SYSTEM– The stair
2. PRESCRIPTIVE - prescribes VILLA SAVOYE - Poissy, east of Paris. and ramp penetrate and link the
guidelines Le Corbusier. This graphic analysis three levels and heighten the
ARCHITECTURE – The art and science will illustrate the way architecture viewer’s perception of forms in
of designing and constructing embodies the harmonious space and light. The curved form
buildings. integration of interacting and of the entrance foyer reflects the
interrelated parts into a complex and movement of the automobile.
Art – The conscious use of skill, craft, unified whole. CONTEXT – A simple exterior form
and creative imagination in the wraps around a complex interior
production of what is beautiful, organization of forms and spaces.
appealing, or of more than ordinary Elevating the main floor provides a
significance. better view and avoids the humidity
of the ground. A garden terrace
SCIENCE – A branch of knowledge distributes sunlight to the spaces
dealing with a body of facts or truths gathered around it.
obtained by direct observation, • SPATIAL SYSTEM – The three- ARCHITECTURAL ORDERS
experimental investigation, and dimensional integration of Physical ▪Solids and ▪ Space
methodical study, systematically program elements and spaces voids ▪
arranged and showing the operation accommodates the multiple ▪Interior Structur
of general laws. functions and relationships of a and e
ARCHITECTURAL SYSTEMS house. exterior ▪Enclosu
THE ARCHITECTURE OF SPACE, re
STRUCTURE, AND ENCLOSURE ▪Machin
- Organizational pattern, es
relationships, hierarchy Percept Sensory ▪Approa
- Qualities of shape, color, ual perception ch and
texture, scale, proportion and Departur
- Qualities of surfaces, edges, and recognition e
openings of the ▪Entry
EXPERIENCE THROUGH MOVEMENT physical and
IN SPACE AND TIME elements Egress
• Approach and entry by ▪Movem
• Path configuration and access experienci ent
• Sequence of spaces • STRUCTURAL SYSTEM – A grid of ng them through
• Light, view, touch, hearing, and columns support horizontal sequentiall the
smell beams and slabs. The cantilever y intime order of
ACHIEVED BY MEANS OF acknowledges the direction of spaces
TECHNOLOGY approach along the longitudinal ▪Functio
• Structure and enclosure axis. ning of
• Environmental protection and • ENCLOSURE SYSTEM – Four and
comfort exterior wall planes define a activities
• Health, safety, and welfare rectangular volume that within
• Durability contains the program elements spaces
ACCOMMODATING A PROGRAM and spaces. ▪Qualitie
o User requirements, needs, s of light,
aspirations color,
o Socio-cultural factors texture,
o Economic factors view,

1|ARCH501-THEORY OF ARCHITECTURE
 and characteristics of substance, shape,
sound. size, color, and texture.
Concep Comprehe ▪Images POINT - It marks a position in space.
tual nsion of ▪Pattern Conceptually, it has no length, width,
the s or depth, and is therefore static,
ordered ▪Signs centralized, and directionless.
and ▪Symbol
disordered s
relationshi ▪Context
ps among a TWO POINTS – describe a line that
building’s connects them.
elements o further suggest an axis
and perpendicular to the line they
systems describe and about which they
and are symmetrical.
responding As the prime element in the
to the vocabulary of form, a point can serve
meanings to mark:
they evoke. • the two ends of a line;
PROCESSESS IN ARCHETECTURAL • the intersection of two lines;
DESIGN • meeting of the lines at the corner
DESIGN PROCESS – A purposeful of a plane or volume; and
activity aimed at devising a plan for • the center of a field.
changing an existing situation into a POINT ELEMENTS – A point has no
TORII, ISE SHRINE - Mie Prefecture,
future preferred state. dimension. To visibly mark a position
Japan. In plan, two points can denote
DESIGN PHASES in space or on the ground plane, a
a gateway signifying passage from
1. INITIATION – Identifying a point must be projected vertically
one place to another. Extended
problem and its social, into a linear form, as a column,
vertically, the two points define both
economic, and physical context. obelisk, or tower. Any such columnar
a plane of entry and an approach
2. PREPARATION – Collecting and element is seen in plan as a point and
perpendicular to it.
analyzing relevant information therefore retains the visual
and establishing goals and characteristics of a point.
criteria for an acceptable
solution.
3. SYNTHESIS – Discovering
constraints and opportunities
and hypothesizing possible
alternative solutions.
4. EVALUATION – Simulating, THE NATIONAL MALL – Washington,
testing, and modifying PIAZZA DEL CAMPIDOGLIO – Rome. D.C. This lies along the axis
acceptable alternatives Michelangelo Buonarroti. established by the Lincoln Memorial,
according to specified goals and the Washington Monument, and the
criteria. United States Capitol Building.
5. ACTION - Selecting and
implementing the most suitable
solution.
6. REEVALUATION – Assessing how
well an implemented solution in
use satisfies the specified goals The equestrian statue of Marcus
and criteria. Aurelius marks the center of this
PRIMARY ELEMENTS OF DESIGN urban space.
Each element is first
considered as a conceptual element,
then as a visual element in the
vocabulary of architectural design.
When made visible to the eye or
paper or in three-dimensional space,
these elements become form with
2|ARCH501-THEORY OF ARCHITECTURE
LINE – An extended point.
Conceptually, a line has length, but
no width or depth. It is capable of
visually expressing direction,
movement, and growth. A line can
serve to:
• join, support, surround, or
intersect other visual elements;
• describe the edges of and give
shape to planes; and
• articulate the surfaces of planes.
LINEAR ELEMENTS – Vertical linear
elements, such as columns, obelisks,
and towers, have been used
throughout history to commemorate
significant events and establish
particular points in space.
• MENHIR – A prehistoric
monument consisting of an
upright megalith, usually
standing alone but sometimes
aligned with others.
COLUMN OF MARCUS AERELIUS -
Piazza Colonna, Rome. The
cylindrical shaft commemorates the
emperor’s victory over Germanic
tribes north of the Danube.
• OBELISK OF LUXOR – Place de la
Concorde, Paris. The obelisk,
which marked the entrance to
the Amon Temple at Luxor, was
given by the viceroy of Egypt,
Mohamed Ali, to Louis Phillipe
and was installed in 1836.
• SELIM MOSQUE – Edirne,
Turkey. Vertical linear elements
can also define a transparent
volume of space. The four
minaret towers outline a spatial
field from which the dome of the
Selim Mosque rises in splendor.
LINEAR ELEMENTS – Linear members
that possess the necessary material
strength ca perform structural
functions.
o express movement across space;
o provide support for an overhead
plane; and
o form a three-dimensional
structural frame for architectural
space.
• SALGINATOBEL BRIDGE - SHAPE – The preliminary identifying
Switzerland. Robert Maillart. In
this example, linear elements
express movement across space.
Beams and girders have the
bending strength to span the
space between their supports
and carry transverse loads.
• CARYATID PORCH, THE
ERECHTHEION - Athens.
Mnesicles. An example showing
linear elements providing
support for an overhead plane.
The sculpted female figures
stand as columnar supports for
the entablature.
3|ARCH501-THEORY OF ARCHITECTURE
• KATSURA IMPERIAL VILLA -
Kyoto, Japan In this example,
linear elements form a three-
dimensional structural frame for
architectural space. Linear
columns and beams together
form a three-dimensional
framework for architectural
space.
PLANE - An extended line in a
direction other than its intrinsic
direction. Conceptually, a plane has
length and width, but no depth
characteristic of a plane. It is
determined by the contour of the line
forming the edges of a plane.
- The supplementary properties of
a plane – Its SURFACE, COLOR,
PATTERN, and TEXTURE – affect
its visual weight and stability.
PLANAR ELEMENTS - In architectural
design, we manipulate three generic
types of planes:
• OVERHEAD PLANE - which can be
either the roof or the ceiling
plane;
• WALL PLANE –
• BASE PLANE – which can be
either the ground or floor plane.
SCALA DE SPAGNA - (Spanish Steps)
Rome. Alessandro Specchi. Along
with climate and other
environmental conditions of a site,
the topographical character of the
ground plane influences the form of
the building that rises from it.
• MORTUARY TEMPLE OF
HATSHEPSUT – Der el-Bahari,
Thebes. Senmut. Three terraces
approached by ramps rise
toward the base of the cliffs
where the chief sanctuary is cut
deep into the rock
• S. MARIA NOVELLA – Florence,
Italy. Alberti. As a design
element, the plane of an exterior
wall can be articulated as the
front or primary facade of a
building.
• PIAZZA SAN MARCO – Venice. In
urban situations, these facades
serve as walls that define
courtyards, streets, and such
public gathering places as
squares and marketplaces.
• ROBIE HOUSE - Chicago. Frank
Lloyd Wright. The roof plane is
the essential sheltering element
that protects the interior of a
building from the climatic
elements.
• FALLINGWATER - (Kaufmann
House) Pennsylvania. Frank
Lloyd Wright. Reinforced
concrete slabs express the
horizontality of the floor and
roof planes as they cantilever
outward from a central vertical
core.
VOLUME - A plane extended in a
direction other than its intrinsic
direction. Conceptually, a volume has
three dimensions: length, width, and
depth.
All volumes can be analyzed and
understood to consist of: points
or vertices where several planes
come together; lines or edges
where two planes meet; and
planes or surfaces that define
the limits or boundaries of a
volume.
FORM - the primary identifying
characteristic of a volume. It is
established by shapes and
interrelationships of the planes that
describe the boundaries of the
volume.
VOLUMETRIC ELEMENTS - Building
forms that stand as objects in the
landscape can be read as occupying
volumes in space.
• NOTRE DAME DU HAUT -
Ronchamp, France. Le Corbusier.
4|ARCH501-THEORY OF ARCHITECTURE
• PALAZZO THIENE - Vicenza, Italy.
Andrea Palladio. Building forms
that serve as containers can be
read as masses that define
volumes of space. In this
structure, the interior rooms
surround a cortile -the principal
courtyard of an Italian palazzo.
FORM ARTICULATION
FORM - The formal structure of a
work—the manner of arranging and
coordinating the elements and parts
of a composition so as to produce a
coherent image.
ARTICULATION - A method or manner
of jointing that makes the united
parts clear, distinct, and precise in
relation to each other.
VISUAL PROPERTIES OF FORM
1. SHAPE - The characteristic
outline or surface configuration
of a particular form.
In architecture, we are concerned
with the shapes of:
o floor, wall, and ceiling planes
that enclose space;
o door & window openings within
a spatial enclosure; and
o silhouettes and contours of
building forms.
• VILLA GARCHES – Vaucresson,
France. Le Corbusier. This
architectural composition
 illustrates the interplay between
the shapes of planar solids and
voids.
2. SIZE - The physical dimensions of
length, width, and depth of a
form. While these dimensions
determine the proportions of a
form, its scale is determined by
its size relative to other forms in
its context.
3. TEXTURE The visual and
especially tactile quality given to
a surface by the size, shape,
arrangement, and proportions of
the parts. Texture also
determines the degree to which
the surfaces of a form reflect or
absorb incident light.
4. COLOR - A phenomenon of light
and visual perception that may
be described in terms of an
individual’s perception of hue,
saturation, and tonal value.
Color is the attribute that most
clearly distinguishes a form from
its environment. It also affects
the visual weight of a form.
PARTS OF A COLOR
• HUE - another word for color;
• VALUE - describes how light or
dark the color is;
• TEMPERATURE - relates to the
feeling of warmth or coolness
the color evokes; and
• INTENSITY - measures the range
of a color from dull to vivid. Also
called chroma and saturation
COLOR WHEEL
• PRIMARY - red, blue, and yellow
• SECONDARY - violet, green, and
orange.
• TERTIARY - red-violet, blue-
violet, yellow-green, blue-green,
red-orange, and yellow- orange.
WARM COLOR - exhibit energy and
joy (best for personal messages).
They have a tendency to appear
larger.
RELATIONAL PROPERTIES OF FORM
COOL COLOR - convey calmness and
1. POSITION - The location of a
peace (best for office use). They have
form relative to its environment
a tendency to appear smaller next to
or the visual field within which it
a warm color. They often work well as
is seen.
a background color.
BASIC COLOR SCHEME
1. COMPLEMENTARY - Any two
colors opposite each other on 2. ORIENTATION The direction of a
the wheel. For example, blue and form relative to the ground
orange, or red and green. plane, the compass points, other
2. SPLIT COMPLIMENTARY - Use forms, or to the person viewing
three colors. The scheme takes the form.
one color and matches it with
the two colors adjacent to its
complementary color. For 3. VISUAL INERTIA - The degree of
example, blue, yellow-orange concentration, and stability of a
and red-orange. form. The visual inertia of a form
3. ANALOGOUS - Any three colors depends on its geometry as well
next to each other on the wheel. as its orientation relative to the
For example, orange, yellow- ground plane, the pull of gravity,
orange, and yellow. and our line of sight.
4. TRIADIC - Any three colors that
are equally apart on the color
wheel. For example, red, yellow • MILWAUKEE ART MUSEUM,
and blue. USA. - Santiago Calatrava.
5. TETRADIC OR DOUBLE
COMPLEMENTARY - Uses four
colors together, in the form of
two sets of complementary
colors. For example, blue and
orange is paired with yellow and
violet.
TINTS – come from adding white to
hues;
SHADES – come from adding black to • PROPOSED LIBRARY IN
KAZAKHASTAN – BIG Architects
hues.
TONES - mixing the hue with grey.
ACHROMATIC - use no color, just
shades of grey, black and white. Also
known as greyscale.
FORM ARTICULATION
o Change in material, color,
texture, or pattern;
o Developing corners as distinct
linear elements;
o Removing corners; and
o Lighting the form.
5|ARCH501-THEORY OF ARCHITECTURE
• HOFFMAN HOUSE - New York.
Richard Meier. The color,
texture, and pattern of surfaces
articulate the existence of planes
and influence the visual weight
of a form.

• KAUFMANN DESERT HOUSE -

California. Richard Neutra.
Openings at corners emphasize
• PALAZZO MEDICI-RICARDO - the definition of planes over
Florence, Italy. Michelozzi. volume.

• FIRST UNITARIAN CHURCH -

Rochester New York. Louis Kahn.
The pattern of openings and
cavities interrupts the continuity
of the exterior wall planes. CIRCULATION - The passage of
persons or things from one place to
another or through an area. Since we
move in time through a sequence of
• JOHN DEERE & COMPANY spaces, we experience a space in
BUILDING - Moline, Illinois. Eero relation to where we’ve been and
Saarinen. Linear patterns have • EVERSON MUSEUM - Syracuse, where we anticipate going.
the ability to emphasize the New York. I.M. Pei. The CIRCULATION ELEMENTS
height or length of form, unify its unadorned corners of the forms 1. APPROACH - The distant view.
surfaces, and define its textural emphasize the volume of their Prior to actually passing into the
quality. The linear sun-shading mass. interior of a building, we
devices accentuate the approach its entrance along a
horizontality of the building path. This is the first phase of the
form. circulation system, during which
we are prepared to see,
• EINSTEIN TOWER - Potsdam, experience, and use the spaces
Germany. Eric Mendelsohn. within a building.
Rounded corners express KINDS OF APPROACH
continuity of surface, a) FRONTAL - Leads directly to
compactness of volume, and the entrance of a building
• CBS BUILDING - New York. Eero softness of form. along a straight, axial path.
Saarinen. Linear columnar The visual goal that
elements emphasize the terminates the approach is
verticality of this high-rise clear.
structure • VILLA BARBARO - Maser, Italy.
Andrea Palladio.

• LABORATORY TOWER - Johnson

Wax Building, Wisconsin. Frank
Lloyd Wright
• IBM RESEARCH CENTER - La
Guade, Var, France. Marcel
Breuer. The three-dimensional
form of the openings creates a
texture of light, shade, and
shadows.

6|ARCH501-THEORY OF ARCHITECTURE
• QIAN MEN - Beijing, China. Link
between the Forbidden City to
the north and the Outer City to
the South. Portals and gateways
have traditionally served as
means of orienting us to the path
beyond and welcoming or
guarding against our entry.
b) OBLIQUE - Enhances the
effect of perspective on the
front facade and form of a
building.
• BUSEOKSA TEMPLE - continuity of the surface of a
Gyeongsangdo, Korea.
• GLASS HOUSE - New Canaan,
Connecticut. Philip Johnson
c) SPIRAL - Prolongs the
sequence of the approach
and emphasizes the three-
dimensional form of a
building as we move around
its perimeter.
ACROPOLIS - Athens, Greece. Dotted
line indicates the path through the
Propylaea to the east end of the
Parthenon.
• FALLINGWATER - Pennsylvania.
Frank Lloyd Wright
2. ENTRANCE - From outside to
inside. Entering a building, a
room within a building, or a
defined field of exterior space,
involves the act of penetrating a
vertical plane that distinguishes
one space from another and
separates “here” from “there.”
Entrances may be grouped formally
into the following categories:
a) FLUSH - Maintains the
wall and can be deliberately
obscured.
MORRIS GIFT SHOP - California. Frank
Lloyd Wright. Elaborated openings
within vertical planes mark the
entrance to this building.
b) PROJECTED Forms a transitional
space, announces its function
to the approach, and provides
overhead shelter.
BASILICA DI SANT’ADREA - Mantua,
Italy. Leon Battista Alberti.
c) RECESSED - Also provides
shelter and receives a portion
of exterior space into the realm
of the building.
• DR. CURRUTCHET’S HOUSE - La
Plata, Argentina. Le Corbusier. A
portal marks the entrance for
pedestrians within a larger
7|ARCH501-THEORY OF ARCHITECTURE
opening that includes space for a
carport.
The notion of an entrance can be
visually reinforced by:
o making the opening lower,
wider, or narrower than
anticipated;
o making the entrance deep or
circuitous; or
o articulating the opening with
ornamentation or decorative
embellishment.
• JFK MEMORIAL - Dallas, Texas.
Philip Johnson.
• VANA VENTURI HOUSE -
Chestnut Hill, Pennsylvania.
Robert Venturi. A vertical break
or separation in the facade
defines the entrances to these
buildings.
• PIAZZA SAN MARCO - Venice.
View of the sea framed by the
Doge’s Palace on the left and
Scamozzi’s Library on the right.
The entrance to the piazza from
the sea is marked by two granite
columns, the Lion’s Column and
the Column of St. Theodore.
3. CONFIGURATION OF PATH - The
sequence of spaces. All paths of
movement are linear in nature.
And all paths have a starting
 point, from which we are taken
through a sequence of spaces to
our destination.
KINDS OF CONFIGURATION
a) LINEAR - All paths are linear. A
straight path, however, can be
the primary organizing element
for a series of spaces. In addition,
it can be curvilinear or
segmented, intersect other
paths, have branches, or form a
loop.
• MORTUARY TEMPLE OF
HATSHEPSUT - Der-el Bahari,
Thebes. Senmut.
• TOSHOGU SHRINE - Tochigi
Prefecture, Japan.
b) RADIAL - Has linear paths
extending from terminating at a
central, common point.
• Eastern State Penitentiary -
Philadelphia. John Haviland.
• University Art Museum -
University of California-Berkeley.
Mario J. Ciampi and Associates.
c) SPIRAL- A a single, continuous
path that originates from a
central point, revolves around it,
and becomes increasingly
distant from it.
• Museum of Western Art - Tokyo,
Japan. Le Corbusier.
• Borobudur - Java, Indonesia. A
Buddhist stupa monument. In
circumambulating the
monument, pilgrims passed
walls ornamented with reliefs
illustrating the life of buddha and
the principles of his teaching.
8|ARCH501-THEORY OF ARCHITECTURE
• Guggenheim Museum - New
York City. Frank Lloyd Wright
d) GRID - consists of two sets of
parallel paths that intersect at
regular intervals and create
square or rectangular fields of
space.
• Manhattan, NYC
• Intramuros - Manila. The
cuadricula, a system of streets
and blocks laid out in gridiron
form. This method was efficient
in maximizing space and in the
supervision of colonial subjects.
e) NETWORK - consists of paths
that connect established points
in space.
• Washington, D.C. - Plan by Pierre
L’Enfant.

• Yi Yuan - Garden of
Contentment. Suzhou, China
f) COMPOSITE - Employing a
combination of the preceding
patterns. To avoid the creation
of a disorienting maze, a
hierarchical order among the
paths and nodes of a building
should be established by
differentiating their scale, form,
length, and placement.
4. PATH-SPACE RELATIONSHIPS -
Edges, nodes, and terminations
of the path.
a) PASS BY SPACES - The integrity of
each space is maintained; The
configuration of the path is
flexible; The mediating spaces
can be used to link the path with
the spaces.
• Bolssonas House - France. Philip
Johnson.
b) PASS THROUGH SPACES - The
path may pass through a space
axially, obliquely, or along its
edge; In cutting through a space,
the path creates patterns of rest
and movement within it.
• Mortuary Temple of Rameses III
- Medinet-Habu.
c) TERMINATE IN A SPACE - The
location of the space establishes
the path; This path-space
relationhip is used to approach
and enter functionally or
symbolically important spaces.
• Neur Vahr Apartment
Germany. AlvarAalto
FORM OF THE CIRCULATION SPACE -
Corridors, halls, galleries, stairways,
and rooms.
• Its boundaries are defined;
• Its form relates to the form of
the spaces it links;
9|ARCH501-THEORY OF ARCHITECTURE
• Its qualities of scale, proportion,
light, and view are articulated;
• entrances open onto it; and
• It handles changes in level with
stairs and ramps.
CIRCULATION SPACE
1. ENCLOSED - Forming a public
galleria or private corridor that
relates to the spaces it links
through entrances in a wall
plane.
2. OPEN ON ONE SIDE - Forming a
balcony or gallery that provides
visual and spatial continuity with
the spaces it links.
3. OPEN ON BOTH SIDES - Forming
a colonnaded passageway that
becomes a physical extension of
the space it passes through.
PRINCIPLES OF DESIGN
DESIGN - the creation and
organization of formal elements in a
work of art.
DESIGN PRINCIPLES - A fundamental
and comprehensive concept of visual
perception for structuring and
aesthetic composition.
1. PROPORTION - The proper
harmonious relation of one part
to another or to the whole.
PROPORTIONING SYSTEMS - They
can visually unify the multiplicity of
elements in an architectural design
by having all of its parts belong to the
same family of proportions. They can
provide a sense of order in, and
heighten the continuity of, a
sequence of spaces. They can
- establish relationships between the
exterior and interior elements of a
building.
a) GOLDEN SECTION - The Golden
Section can be defined as the
ratio between two sections of a
line, or the two dimensions of a
plane figure, in which the lesser
of the two is to the greater as the
greater is to the sum of both.
• The Greeks recognized the
dominating role the Golden
Section played in the
proportions of the human body.
Renaissance architects also
 explored the Golden Section in • World Museum - Geneva. Le
their work. In more recent times, Corbusier.
Le Corbusier based his Modulor
system on the Golden Section.

• Palazzo Farnese - Rome. Antonio

da Sangallo the Younger.

• Parthenon - Athens, Greece.

Ictinus and Callicrates. The
proportioning begins by fitting
the facade into a Golden CORINTHIAN
Rectangle. Each analysis then
varies from the other in its • The Pantheon - Rome
approach to proving the
existence of the Golden Section
and its effect on the dimensions
and distribution of elements
across the facade
c) CLASSICAL ORDERS - To the
Greeks and Romans of classical
antiquity, the Orders
represented in their
proportioning of elements the
perfect expression of beauty and
harmony. The basic unit of
dimension was the diameter of Classification of Temples according to
the column. their intercolumniation. Vitruvius’
TUSCAN rules for the diameter, height, and
• Tempietto, St. Pietro - Montorio, spacing of columns.
Rome. Donato Bramante.

DORIC
d) RENAISSANCE THEORIES - The
b) REGULATING LINES - If the architects of the Renaissance,
diagonals of two rectangles are believing that their buildings had
either parallel or perpendicular to belong to a higher order,
to each other, they indicate that returned to the Greek
the two rectangles have similar mathematical system of
proportions. These diagonals, as proportions.
well as lines that indicate the • Seven Ideal Plan Shapes for
common alignment of elements, Rooms - Andrea Palladio (1508–
are called regulating lines. 1580) was probably the most
influential architect of the Italian
Renaissance. In The Four Books
on Architecture, first published
IONIC
in Venice in 1570, he followed in
10 | A R C H 5 0 1 - T H E O R Y O F A R C H I T E C T U R E
 the footsteps of his
predecessors, Alberti and Serlio,
and proposed these seven “most
beautiful and proportionable
manners of rooms.”
• Determining the Heights of
Rooms - Palladio also proposed
several methods for determining
the height of a room so that it
would be in proper proportion to
the room’s width and length.
o The height of rooms with flat
ceilings would be equal to their
width.
o The height of square rooms with
vaulted ceilings would be one-
third greater than their width.
o For other rooms, Palladio used
Pythagoras’ theory of means to
determine their heights.
• Villa Capra (The Rotunda) -
Vicenza, Italy. Andrea Palladio.
Room sizes: 12 x 30, 6 x 15, 30 x
30.
e) MODULOR - Le Corbusier
developed this proportioning
system to order “the dimensions
of that which contains and that
which is contained.” He based
the Modulor on both
mathematics (the aesthetic
dimensions of the Golden
Section and the Fibonacci
Series), and the proportions of
the human body (functional
dimensions).
- The basic grid consists of three
measures, 113, 70, and 43
centimeters, proportioned
according to the Golden Section.
Le Corbusier saw the
Modulor as a system of
measurements that could govern
lengths, surfaces, and volumes, and
“maintain the human scale
everywhere.”
UNITÉ D’HABITATION - Marseille,
France. Le Corbusier. The principal
work ofLe Corbusier that exemplified
the use ofthe Modulor. It uses 15
measures of the Modulorto bring
human scale toa building.
f) KEN - was introduced in the
latter half of Japan’s Middle
Ages. Although it was originally
used simply to designate the
interval between two columns
and varied in size, the ken was
11 | A R C H 5 0 1 - T H E O R Y O F A R C H I T E C T U R E
soon standardized for residential
architecture.
TWO METHODS
• INAKA-MA METHOD – the Ken
grid of 6 shaku determined the
center-to-center spacing of ½ x 1
ken) varied slightly to allow for
the thickness of the columns.
• KYO-MA METHOD – the floor
mat remained constant (3.15 x
6.30 shaku) and the column
spacing (ken module) varied
according to the size of the room
and ranged from 6.4 to 6.7
shaku.
g) ANTHROPOMETRY -
Anthropometry refers to the
measurement of the size and
proportions of the human body.
ERGONOMICS - the applied science
that coordinates the design of
devices, systems, and environments
with our physiological and
psychological capacities and
requirements. The dimensions of the
human body also affect the volume
of space we require for movement,
activity, and rest. The fit between the
form and dimensions of a space and
our own body dimensions can be: ▪
• Static;
• Dynamic; or
• Based on social distances and
personal space.
2. SCALE - The size of something
compared to a reference
standard or to the size of
something else.
Two types:
• VISUAL SCALE - It refers to how
small or large something appears
to be in relation to its normal size
or to the size of other things in its
context.

• Reims Cathedral - Reims, France.
HUMAN SCALE - in architecture is
based on the dimensions and
proportions of the human body.
In addition to the vertical
dimension of a space, other factors
that affect its scale are:
- the shape, color, and pattern of
its bounding surfaces;
- the shape and disposition of its
openings; and
- the nature and scale of the
elements placed within it.
3. CONTRAST - Opposition or
juxtaposition of dissimilar
elements in a work of art to
intensify each element’s
properties and produce a more
dynamic expressiveness.
Contrast create visual variety,
excitement and interest to the
building and can be achieved by:
• using different sizes;
• different material, texture, and
colors; or
• manipulating the light, shade,
and shadow of masses.
4. BALANCE - A state of equilibrium
between contrasting, opposing,
or interacting elements. Also the
pleasing or harmonious
arrangement or proportion of
parts or elements in a design or
composition.
SYMMETRY - The exact
correspondence in size, form, and
arrangement of parts on opposite
sides of a dividing line or plane, or
about a center or axis.
TWO TYPES OF SYMMETRY
1. BILATERAL SYMMETRY - Refers
to the balanced arrangement of
similar or equivalent elements
on opposite sides of a median
axis so that only one plane can
divide the whole into essentially
identical halves.
• Monticello - Virginia. Thomas
Jefferson.
• Unity Temple - Oak Park, Illinois.
Frank Lloyd Wright.
2. RADIAL SYMMETRY - The
balanced arrangement of
similar, radiating elements such
12 | A R C H 5 0 1 - T H E O R Y O F A R C H I T E C T U R E
that the composition can be
divided into similar halves by
passing a plane at any angle
around a center point or along a
central axis.
• Great Stupa - Sanchi, India.
5. HIERARCHY - The articulation of
the importance or significance of
a form or space by its size, shape,
or placement relative to the
other forms and spaces of the
organization.
• For a form or space to be
articulated as being important or
significant to an organization, it
must be made uniquely visible.
This visual emphasis can be
achieved by endowing a form or
shape with:
o exceptional size;
o a unique shape; or
o a strategic location.
BY SIZE - A form or space may
dominate an architectural
composition by being significantly
different in size from all the other
elements in the composition.
Normally, this dominance is made
visible by the sheer size of an
element.
• Savannah - Georgia. James
Oglethorpe
BY SHAPE - A form or space can be
made visually dominant and thus
important by clearly differentiating
its shape from that of the other
elements in the composition. A
discernible contrast in shape is
critical, whether the differentiation is
based on a change in geometry or
regularity.
• Plan of Montfazier - France. A
medieval town founded in1284.
BY PLACEMENT - A form or space may
be strategically placed to call
attention to itself as being the most
important element in a composition.
• Villa Trissino - Vicenza, Italy.
Andrea Palladio.
• Florence Cathedral - Florence,
Italy.
• Legislative Assembly Building -
Chandigarh, India. Le Corbusier
6. RHYTHM - Movement
characterized by a patterned
repetition or alternation of
formal elements or motifs in the
same or a modified form.
REPETITION - The act or process of
repeating formal elements or motifs
in a design.
- The simplest form of repetition is a
linear pattern of redundant
elements. They may be grouped
according to:
• size;
• shape; or
• detail characteristics.
CLASSIFICATION OF TEMPLES - From
Vitruvius’ Ten Books of Architecture.
Temples classified according to
arrangements of the colonnades.
• Salisbury Cathedral - England.
STRUCTURAL PATTERN - often
incorporate the repetition of vertical
supports at regular or harmonious
13 | A R C H 5 0 1 - T H E O R Y O F A R C H I T E C T U R E
intervals which define modular bays
or divisions of space.
As in music, a rhythmic
pattern may be legato, continuous
and flowing, or staccato and abrupt
in its pace or cadence.
• Katsura Imperial Village - Kyoto,
Japan.
• Olympic Arena - Tokyo, Japan.
Kenzo Tange.
RHYTHM - a natural outcome of the
way we lay out the repetitive units of
housing complexes.
• Residential Care Unit - Hokkaido,
Japan. Sou Fujimoto.
SPACE ARTICULATION
SPACE - 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.
1. 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.

SPATIAL ORGANIZATION 2. LINEAR ORGANIZATION -

2. 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 Bramanteand
Baldassare Peruzzi.
1. CENTRALIZED ORGANIZATION - a
stable, concentrated
composition that consists of a
number of secondary spaces
grouped around a large,
dominant, central space.
• Taj Mahal - Agra, India.
• Villa Farnese - Caprarola, Italy.
Giacomo da Vignola.
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.

3. ADJACENT SPACES - Adjacency is

the most common type of spatial
relationship. It allows each space
to be clearly defined and to
• Lloyd Lewis House - Libertyville,
respond, each in its own way, to
Illinois. Frank Lloyd Wright.
specific functional or symbolic
requirements.
• Chiswick House - London,
England. Lord Burlington and
William Kent

• National Assembly Building -

Dacca, Bangladesh. Louis Kahn.

4. SPACES LINKED BY A COMMON • Romano House - Kentfield,

SPACE - Two spaces that are California. Esherick Homsey
separated by distance can be Dodge & Davis
linked or related to each other by
a third, intermediate, space.
One-Half House - John Hejduk.

14 | A R C H 5 0 1 - T H E O R Y O F A R C H I T E C T U R E

3. RADIAL ORGANIZATION - cellular spaces that have similar
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.
• 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.
4. CLUSTERED ORGANIZATION -
relies on physical proximity to
relate its spaces to one another.
It often consists of repetitive,
functions and share a common
visual trait such as shape or • St. Carlo alle Quattro Fontane -
orientation. Rome. Francesco Borromini.
• Yeni-Kaplica - (Thermal Bath)
Bursa, Turkey.
• Palace of King Minos - Knossos,
Crete
• Gamble House - Pasadena,
California. Greene & Greene.
5. GRID ORGANIZATION - consists
of forms and spaces whose
positions in space and
• Rajarajeshwara Temple - relationships with one another
Thanjavur, India. are regulated by a three-
dimensional grid pattern or field.
• Shodhan House - Ahmedabad,
India. Le Corbusier
15 | A R C H 5 0 1 - T H E O R Y O F A R C H I T E C T U R E

• Eric Boissonas House I - New
Canaan, Connecticut. Philip
Johnson.
PROXEMICS - 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.
LEVEL OF DISTANCES
1. 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.
2. 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.
3. 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 ROMANESQUE - emerged from
disengage from a conversation. Roman and Byzantine elements;
4. PUBLIC DISTANCE - 10 feet to - characterized by massive
infinity (3 meters and beyond). articulated wall structures,
This is the zone where we can no arches and powerful vaults.
longer pick up subtle nuances of • Piazza del Duomo - Piazza dei
meaning from the face or tone of Miracoli. Pisa, Italy
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
GOTHIC - revolutionary style of
the degree of conversation.
construction;
• SOCIOPETAL SPACE - Spaces
- emerged from Romanesque and
which tend to bring people
Byzantine forms;
together.
- characterized by a delicate
• SOCIOFUGAL SPACE - Tend to
balance of forces, with thrusts
keep people apart and
directed throughout a rigid
discourage conversations.
structural lattice.
- features were height and light,
ARCHITECTURAL STYLES
achieved through a mixture of
STYLES - A particular or distinctive
skeletal structures and ever
form of artistic expression
increasing windows.
characteristic of a person, people, or
• Chartres Cathedral - Chartres,
period.
France.
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 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.
CLASSICAL - derived from the
principles of Greek and Roman
architecture.
• Colosseum - Rome, Italy
16 | A R C H 5 0 1 - T H E O R Y O F A R C H I T E C T U R E
 • Bauhaus School and Faculty -
Dessau, Germany. Walter
Gropius.

ART NOUVEAU - style of fine and

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.
applied art characterized by fluid,
undulating motifs, often derived
from natural forms.
• Sagrada Família - Barcelona,
Spain.
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.

ART DECO - Style Moderne;

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 - • Barcelona Pavilion - Spain. Mies
Washington, D.C.
EXPRESSIONISM - buildings were
treated not only as functional
structures but also as sculptural
objects;
• Einstein Tower - Potsdam,
Germany. Erich Mendelsohn.
- marked by geometric motifs,
streamlined and curvilinear
forms, sharply defined outlines,
often bold colors.
• Metropolitan Theater - Manila.
Juan Arellano.
POST-MODERNISM - reaction against
International style and Modernism.
- encourages use of elements
from historical vernacular styles
and often playful illusion,
decoration, and complexity.
INTERNATIONAL STYLE - functional • Sony Tower - New York City.
architecture devoid of regional Philip Johnson.
characteristics;
- characterized by simple
geometric forms, large
untextured, often white
surfaces, large areas of glass, and
general use of steel or reinforced ORGANIC ARCHITECTURE -
concrete construction. expression of personal freedom;
- harmony between structure and
van der Rohe. the environment;
- integration of individual parts to
the whole concept;
- all forms should express the
natural use of materials.
• Fallingwater - Pennsylvania.
BAUHAUS - The concepts and ideas Frank Lloyd Wright.
were characterized chiefly by the
synthesis of technology, craft, and
design aesthetics;
- emphasizes on functional
design.
17 | A R C H 5 0 1 - T H E O R Y O F A R C H I T E C T U R E

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 - the temperate climate and because
“invisible” or “imaginary”
architecture;
- represents plans and drawings
for buildings and cities that have
never been constructed;
- pure research or speculation.
TROPICAL ARCHITECTURE
CLIMATE BASICS
CLIMATE - A measure of the average
pattern of variation in temperature,
humidity, atmospheric pressure,
wind, precipitation, atmospheric
particle count and other
meteorological variables in a given
region over long periods of time.
CLIMATE VERSUS WEATHER - Climate
is different from weather, in that
weather only describes the short-
term conditions of these variables in
a given region.
TROPICAL CLIMATE(A) - Found in a
nearly unbroken belt around the
Earth at low latitudes, mostly within
15° N and S.
CLIMATE OF THEPHILIPPINES
• The climate of the Philippines is
tropical and maritime.
• It is characterized by relatively
high temperature, high humidity
and abundant rainfall.
• It is similar in many respects to
the climate of the countries of
Central America
The most important elements of the
country's weather and climate are
the following:
1. TEMPERATURE - Excluding
Baguio, the mean annual
temperature in the Philippines is
26.6 °C. The coolest months fall
in January with a mean
temperature of 25.5 °C while the
warmest month occurs in May
with a mean temperature of 28.3
°C. The difference between the
mean annual temperature of the
southernmost station in
Zamboanga and that of the
northernmost station in Laoag is
insignificant. In other words,
there is essentially no difference
in the mean annual temperature
of places in Luzon, Visayas or
Mindanao measured at or near
sea level.
BAGUIO CITY - The temperature of
Baguio is comparable with those in
of this, it is known as the summer
capital of the Philippines.
2. HUMIDITY - refers to the
moisture content of the
atmosphere. Due to high
temperature and the
surrounding bodies of water, the
Philippines has a high relative
humidity. The average monthly
relative humidity varies between
71% in March and 85% in
September.
3. RAINFALL - the most important
climatic element in the
Philippines. Rainfall distribution
18 | A R C H 5 0 1 - T H E O R Y O F A R C H I T E C T U R E
throughout the country varies
from one region to another,
depending upon the direction of
the moisture-bearing winds and
the location of the mountain
systems.
SEASONS - Using temperature and
rainfall as bases, the climate of the
country can be divided into two
major seasons: rainy and dry.
- The rainy season, from June to
November
- The dry season, from December
to May, which may be
subdivided further into:
o The cool dry season, from
December to February
o The hot dry season, from
March to May.
CLIMATE TYPES - There are four
recognized climate types in the
Philippines, and they are based on
the distribution of rainfall.
• TYPE I - Two pronounced
seasons: dry from November to
April and wet during the rest of
the year.
• TYPE II - No dry season with a
pronounced rainfall from
November to January.
• TYPE III -Seasons are not very
pronounced, relatively dry from
November to April, and wet
during the rest of the year.
• TYPE IV - Rainfall is more or less
evenly distributed throughout
the year.
PREVAILING WINDS
- Hanging amihan (northeast),
November-April
- Hanging habagat (southwest),
May October
MONSOON - a seasonal shift in the
prevailing wind direction, that usually
brings with it a different kind of
weather.
BASICS OF PASSIVE DESIGN
• PASSIVE DESIGN - Design that
works with the environment to
exclude unwanted heat or cold
and take advantage of sun and
breezes (inducing comfort
conditions in the building
interiors), therefore avoiding or
minimizing the need for
mechanical heating or cooling.
• PASSIVECOOLING - The use of
passive cooling principles in the
 tropics results in a building that
is comfortable, energy efficient
and results in substantial savings
in running costs of both cooling
and lighting.
• ACTIVECOOLING - A building
design approach that addresses
the problem of inducing comfort
by means of equipment that
consume energy.
PRINCIPLES OF PASSIVE DESIGN
1. AVOID HEATGAIN
- Orient the building to reduce
exposure to midday sun,
particularly summer sun.
- Use materials with low thermal
mass as a general rule.
- Shade walls and windows,
particularly any walls with high
thermal mass.
- Use glazing on windows that
cannot be effectively shaded.
- Use insulation, light colors, and
heat-reflective surfaces
2. ENCOURAGE
NATURALVENTILATION
- Orient the building and windows
towards prevailing winds.
- Include operable windows and
ceiling vents that enable the
building to naturally ventilate.
3. MAKE USE OF NATURALLIGHT
- Install shaded windows.
- Install shaded skylights, light
tubes, and other natural lighting
devices.
4. CREATE COOL OUTDOORAREAS
- Use verandas and deep
balconies to shade and cool
incoming air.
- Use landscaping to provide
shade without blocking cooling
breezes and use planting to
reduce ground temperature and
minimize reflected heat.
PASSIVE DESIGN CONSIDERATIONS
1. ORIENTATION - There are two
main goals to consider when
considering the building
orientation:
- Orientation for minimal solar
heat gain.
- Orientation for maximum air
flow.
SUNPATH DIAGRAMS
▪ AZIMUTH LINES - run around the
edge of the diagram.
▪ ALTITUDE LINES - are
represented as concentric
circular dotted lines that run
from the center of the diagram
out
▪ DATE LINES - start on the eastern
side of the graph and run to the
western side and represent the
path of the sun on one particular
day of the year.
▪ HOUR LINES / ANALEMMA -
Hour lines are shown as figure-
eight-type lines that intersect
the date lines and represent the
position of the sun at a specific
hour of the da
2. VENTILATION - Ventilation,
circulation of air or to replace
stale air with fresh air.
STACK VENTILATION - Uses the
principle of convection to induce
airflow.
3. LANDSCAPING - Reducing the
extent of paving and other hard
surfaces with vegetation.
• The hard surfaces of pavement
around buildings absorb and re-
radiate heat, creating a hotter
microclimate.
• Thus, it is smart to minimize the
extent of paving and replace
them with vegetation.
• Planting areas around the
building creates a cooler
environment due to a plant’s
ability to transpire or lose
moisture, which cools the air
• External temperatures can be
reduced by over 5°C by using
ground cover or lawn instead of
paving
• Denser vegetation provides a
greater cooling effect
• Air that is drawn from planted
areas is much cooler than air
drawn from paved areas
URBAN HEAT ISLAND - A city or
metropolitan area that is significantly
warmer than its surrounding rural
areas due to human activities
4. THERMAL MASS - the ability of
building materials to absorb,
store, and release heat.
- In tropical climates, the use of
materials with low thermal mass
is preferable particularly on walls
that are directly exposed to the
sun.
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- This is because lightweight
construction such as timber
respond quickly to cooling
breezes, allowing the building to
cool down faster.
TROMBE WALL - a system for indirect
solar heat gain. It consists of a dark
colored wall of high thermal mass
facing the sun, with glazing spaced in
front to leave a small air space. The
glazing traps solar radiation like a
small greenhouse.
5. INSULATION - Insulation controls
the rate at which a building loses
or gains heat, keeping warmer
air in during winter and
excluding external heat in
summer.
- Insulation is one of the most
effective ways to reduce heat
input to a building and can be
installed in the roof, ceiling and
walls of the building.
6. WINDOWS - are an important
way to encourage and direct air
flow into a building.
- Louvers and casement style
windows allow building users to
control how much natural air
enters the building.
- Well-placed louvers or windows,
at floor level and at the highest
point of the room, create
convection air flow which draws
air into the building and creates
breezes to cool occupants.
TINTEDGLASS - has a tint applied to
the glass during manufacture, to
reduce the amount of heat
transmitted through it.
REFLECTIVE COATINGS - are thin films
of metal or metal oxide that are
applied to standard glass.
- They stop greater amounts of
heat gain than some toned glass,
however, they have the
potential to create glare
problems for neighboring
properties and can significantly
reduce the quantity of light
admitted through the glass.
SOLARSHADING - Shading devices
shield windows and other glazed
areas from direct sunlight in order to
reduce glare and excessive solar heat
gain in warm weather
• HORIZONTAL OVERHANGS - are
most effective when they have
southern orientations.
• HORIZONTAL LOUVERS - parallel
to a wall permit air circulation
near the wall and reduce
conductive heat gain. Louvers
may be operated manually or
controlled automatically with
time or photoelectric controls to
adapt to the solar angle.
• SLANTED LOUVERS - provide
more protection than those
parallel to a wall. Angle varies
according to the range of solar
angles.
• LOUVER HUNG - from a solid
overhang protect against low
sun angles. Louvers may
interfere with view
• VERTICAL LOUVERS - are most
effective for eastern or western
exposures. Louvers may be
operated manually or controlled
automatically with time or
photoelectric controls to adapt
to solar angle. Separation from
wall reduces conductive heat
gain.
• EGGCRATES combine the
shading characteristics of
horizontal and vertical louvers
and have a high shading ratio.
Eggcrates sometimes referred to
as brise-soleil, are very efficient
in hot climates
• Solar blinds and screens can
provide up to a 50% reduction in
solar radiation, depending on
their reflectivity. Heat-absorbing
glass can absorb up to 40% of the
radiation reaching its surface.
7. NATURALLIGHTING -Maximizing
the amount of natural light that
enters the building can lead to
significant energy savings by
reducing the need for artificial
lighting.
MAXIMIZING NATURALLIGHT
1. SKYLIGHTS - can provide good
quality light to work spaces that
are away from windows. But
they need to be shaded and
glazed to prevent heat transfer.
Some skylights are also vented to
allow hot air to escape.
2. ATRIA - a large open space, often
several stories high and having a
glazed roof and/or large
windows. The benefit of an
atrium is that hot air can be
vented at the top rather than
accumulating near the building
users.
3. LIGHTSHELVES - an architectural
element that allows daylight to
penetrate deeper into a building.
A light shelf is a horizontal light-
reflecting overhang which is
placed above eye-level and has a
high-reflectance upper surface.
4. CLERESTORY WINDOWS These
are high, vertically placed
windows that are ideally north
facing. Clerestory windows can
be a good source of diffuse light,
and can also be useful in allowing
hot air to leave the building.
FENG SHUI – Chinese philosophy of
geomancy or the understanding of
the forces of the earth.
- In architecture, it promotes the
creation of designed
environment in harmony with
the cosmic forces of nature.
- “wind” and “water”; relate to
concept of QI or CH’I – means
20 | A R C H 5 0 1 - T H E O R Y O F A R C H I T E C T U R E
the flow of natural energy the
circulates the earth and moves in
specific patterns on a site.
- SHA QI is the QI that is too
forceful and may thus have
negative effects on people.
CONCEPT OF YIN AND YANG
- Harmonious balance of
opposites, good and bad, light
and dark, positive and negative.
- In Feng Shui, it relates to the
necessary balance of the positive
and negative forces of the Qi.
THE FIVE ELEMENTS
1. WOOD – tall, cylindrical,
features (tree trunks).
2. FIRE – sharp peaks (flames)
3. EARTH – flat terrain
4. METAL – rounded hills (coin)
5. WATER – wavy, undulating
ground
- The productive and destructive
interaction between the
elements and their
representations must therefore
be considered in relating design
elements.
PRODUCTIVE CYCLE - Burning WOOD
produces FIRE which leaves behind
EARTH which is the source of METAL
which can be liquefied into flowing
substances like WATER.
DESTRUCTIVE CYCLE – WOOD sucks
up nourishment from EARTH which
muddies WATER which quenches
FIRE which melts METAL.
SOME BASIC RULES IN DESIGN
1. Main doors should face south or
east.
2. Doors should not face each other
especially if they lead outside.
3. Stairways must not face a door,
especially the main door.
4. The number of steps in a run of
stairs must not be divisible by
four.
5. The kitchen stove must not face
a door, must not be opposite the
sink of aligned with the sink.
6. The bed should not face a door.
7. There should be no exposed
beams or pointed objects above
the bed.
8. The water closet should not face
the door.
9. Eating area should not be
located below toilets.
10. Exposed columns should be
round.
11. The number of columns should
be even but must not be divisible
by four.
NINE BASIC CURES
1. Reflected objects – mirrors,
multi-faceted crystal that reflect
light and QUI.
2. Sound – music, wind chimes,
bells.
3. Color – used to bring balance and
vitality to spaces.
4. Living Objects – flowers, plants,
aquariums
5. Electrically-powered items –
computers, TV, etc.
6. Bamboo items – as plants,
curtains flutes.
7. Moving items – water fountains,
mobiles
8. Heavy objects – furnitures,
statues, stones
9. Others – meaningful items
(favorite possessions,
memorabilia, etc.)
MASTERS OF ARCHITECTURE
❖ ALVAR AALTO
- Born in Finland in 1898. He
graduated with honors from
Helsinki Polytechnic in 1921
after which he opened his own
practice.
- He held the position of Professor
of Architecture at MIT 1946 to
1948, and was president of the
Academy of Finland.
• Auditorium University of
Helsinki,Finland.
❖ FRANK GEHRY
- Born in Canada in 1929. He
studied at the Universities of
Southern California and Harvard
before he established his first
practice.
• Kunsten Museum (Museum of
ModernArt). Aalborg, Denmark.
• Guggenheim Museum Bilbao,
Spain.
❖ ANTONI GAUDI
- Born in Spain in 1852. Hestudied
at the Escola Superior
d'Arquitectura and designed his
first major commission for the
Casa Vincens using a Gothic
Revival style.
• Dancing House – Prague
• La Sagrada Familia Barcelona,
Spain.
- Gaudi developed a sensuous,
curving, almost surreal design
style which established him as
the leader of the Spanish Art • Vitra Design Museum - Germany.
Nouveau movement. His
characteristically warped form of
Gothic architecture drew
admiration from other avant-
garde artists. ❖ FRANK LLOYD WRIGHT
- Born in Richland Center,
Wisconsin in 1867. He was
educated at Second Ward
School, Madison and at the
University of Wisconsin where
he took some mechanical
drawing and basic mathematics
courses. He then departed for
• Casa Batlló Barcelona, Spain.
Chicago where he spent several
months in J. L. Silsbee's office
before seeking employment with
Adler and Sullivan.
21 | A R C H 5 0 1 - T H E O R Y O F A R C H I T E C T U R E
 • St. Mary’s Cathedral Tokyo.
• Guggenheim Museum – New
York City - organic architecture.
❖ JØRN UTZON
- Born in Copenhagen in 1918.
After studying at the Academy of
Arts in Copenhagen, he travelled
through Europe, the United
States and Mexico. He • Peace Memorial Museum
established his own practice in Hiroshima.
• Fallingwater (Kaufmann House) - Copenhagen in 1950 when he
Pennsylvania. returned from his travels.

• Sydney Opera House - New ❖ LE CORBUSIER Charles-Édouard

❖ I.M. PEI
- Ieoh Ming Pei, born in China in
1917. He studied architecture at
MIT and Harvard. He worked for
several companies and as a
professor at Harvard before he
founded his own architectural
firm in 1960.
• National Assembly Building –
South Wales, Australia. Jeanneret-Gris.
- Born in Switzerland in 1887.
- Trained as an artist, he travelled
extensively through Germany
and the East. In Paris, he studied
under Auguste Perret and
absorbed the cultural and artistic
life of the city.
Kuwait

• Villa Savoye Poissy, France..

• Louvre Pyramid - Paris, France.

❖ KENZO TANGE
- Born in Osaka, Japan in 1913. He
graduated from the University of
Tokyo in 1938 and studied city
planning at the graduate school
• Unité d'Habitation -Marseille,
at the University of Tokyo. He
France.
• Bank of China Tower - Hong received a degree in engineering
Kong. in 1959.
- Two years later, he established
his own firm. He also served as
professor of urban engineering
at the University of Tokyo from
• Essensa Towers - Taguig City. 1963 to 1974.

• Notre Dame du Haut Ronchamp,

France.

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❖ LOUIS SULLIVAN
- Born in Boston, Massachusetts in
1856. He studied architecture at
the Massachusetts Institute of
Technology for one year. He then
worked as a draughtsman for
Furness and Hewitt in
Philadelphia and for William Le
Baron Jenney in Chicago.
- In 1874 he travelled to Europe
where he studied at the Ecole
des Beaux Arts in Paris. He
returned to Chicago a year later.
• Wainwright Building St. Louis,
Missouri.
• The Sullivan Center (Formerly
Carson, Pirie, Scott and Company
Building) Chicago.
❖ LUDWIG MIES VAN DER ROHE
- Born in Aachen, Germany in
1886. He worked in the family
stonecarving business before he
joined the office of Bruno Paul in
Berlin. He entered the studio of
Peter Behrens in 1908 and
remained until 1912
• Seagram Building In
collaboration with Philip
Johnson. New York City.
• Farnsworth House - Plano,
Illinois.
❖ MICHAEL GRAVES
- Born in Indianapolis, Indiana in
1934. He studied at the
University of Cincinnati, Ohio
and at Harvard University. After
working as a Fellow at the
American Academy in Rome for
two years, he started his own
practice in Princeton, New
Jersey. He became a professor at
Princeton University in 1972
• Disney’s Hotel - New York City.
• Humana Building - Louisville,
Kentucky
❖ NORMAN FOSTER
- Born in Manchester, England in
1935. He received his
architectural training at
Manchester University School of
Architecture and Yale University.
He worked with Richard Rogers
and Sue Rogers and his wife,
Wendy Foster, as a member of
"Team 4" until FosterAssociates
was founded in London in 1967.
• 30 St. Mary Axe (The Gherkin)
London, England.
23 | A R C H 5 0 1 - T H E O R Y O F A R C H I T E C T U R E
• Hearst Tower - New York City.
❖ OSCAR NIEMEYER
- Born in Rio de Janeiro Brazil in
1907. He graduated from the
Escola Nacional de Belas Artas in
Rio de Janeiro and later joined
the office of Lucio Costa. In 1936
he joined the team of Brazilian
architects collaborating with Le
Corbusier on a new Ministry of
Education and Health in Rio de
Janeiro.
• Brasilia Cathedral - Brasilia.
• Penang State Mosque - Jelutong,
Malaysia
❖ PHILIP JOHNSON
- Born in Cleveland, Ohio in 1906.
He graduated from Harvard
University and received an A.
B.in architectural history, in 1930
and a B.Arch in 1943.
- He served as Director of
Architecture at MOMA. He
worked with Richard Foster and
with John Burgee until his
retirement. He became a trustee
of MOMA in 1958, received the
AIA Gold Medal in 1978, and
 received the Pritzker
Architecture prize in
• Glass House - New Canaan,
Connecticut.
• Sony Tower - Formerly AT&T
Building. New York City
❖ REM KOOLHAAS
- Born in Netherlands in 1944.
Koolhaas studied at the
Architectural Association School
of Architecture in London and at
Cornell University in Ithaca, New
York.
- He founded The Office for
Metropolitan Architecture in
1975 together with architects
Elia Zenghelis, Zoe Zenghelis and
Madelon Vriesendorp in London.
• CCTV Headquarters Beijing,
China.
• Seattle Central Library Seattle,
Washington.
❖ RENZO PIANO
- Born in Genoa, Italy in
1937.From 1959 to 1964 he
studied at the Milan Politecnico,
where he taught until 1968. In
1970, Piano established a
partnership with the English
architect Richard Rogers
• Centre Georges Pompidou
❖ ROBERT VENTURI
- Born in Philadelphia,
Pennsylvania in 1925. He
attended the Episcopal Academy
in Philadelphia and graduated
from Princeton University. He
worked with Eero Saarinen and
THE SHARD - Also referred to as the Louis I. Kahn before he founded
Shard of Glass, Shard London Bridge his own practice in 1958. In 1964
and formerly London Bridge Tower. he formed a partnership with
London, England John Rausch.
• Vanna Venturi House
❖ RICHARD MEIER
- Born in Newark, New Jersey in
1934. He graduated from Cornell
University in 1957 then worked
with a series of architects,
including Skidmore, Owings, and
Merrill and Marcel Breuer. He
established his own practice in
1963.
• Allen Art Museum - Oberlin,
Ohio
• Jubilee Church - Tre Teste, Rome.
❖ SANTIAGO CALATRAVA
- Born in Valencia, Spain in 1951.
He graduated from the Institute
of Architecture in Valencia and
from the Federal Institute of
Technology in Zurich. Calatrava
opened his own architecture and
engineering office in Zurich.
• The Getty Center - Los Angeles
• Turning Torso - Malmö
Municipality, Sweden.
24 | A R C H 5 0 1 - T H E O R Y O F A R C H I T E C T U R E
 “Architecture is the 1989 Frank Gehry
will of an epoch 1990 Also Rossi
translated into 1991 Robert Venturi
space.” 1992 Alvaro Siza Vietra
“Less is more.” 1993 Fumihiko Maki
• Auditorio de Tenerife - Santa CHARLES
“Whoever said that 1994 Christian De Portzamparc
Cruz de Tenerife, Spain pleasure wasn’t 1995 Tadao Ando
EAMES
functional?” 1996 Rafael Moneo
“Architecture is the 1997 Sverre Fehn
PHILIP
art of how to waste 1998 Renzo Piano
JOHNSON
space.” 1999 Norman Foster
“Architecture 2000 Rem Koolhaas
should speak of its 2001 Pierre De Meuron and
FRANK
time and place but Jacques Herzog
GEHRY
❖ WALTER GROPIUS should yearn for 2002 Glenn Murcutt
- Born in Berlin in 1883.He studied timelessness.” 2003 Jorn Utzon
at the Technical Universities in “To create 2004 Zaha Hadid
Munich and Berlin. He joined the architecture is to
2005 Thom Mayne
office of Peter Behrens in 1910 put in order.”
2006 Paulo Mendes Da Rocha
and three years later established “A hundred times
2007 Richard Rogers
a practice with Adolph Meyer have I thought New
2008 Jean Nouvel
• Bauhaus School and Faculty - York is a
2009 Peter Zumthor
Dessau, Germany. catastrophe and 50
LE times: it is a 2010 Kazuyo Sejima and
Ryue Nishizawa
CORBUSIER beautiful
catastrophe.” 2011 Eduardo Souto Moura
“Architecture is the 2012 Wang Shu
learned game, 2013 Toyo Ito
correct and 2014 Shigeru Ban
magnificent, of 2015 Frei Otto
forms assembled in 2016 Alejandro Aravena
the light.” 2017 Rafael Aranda,
• Fagus Factory - Alfeld, Germany “Architects today Carme Pigem, and
tend to depreciate Ramon Vilalta
themselves, to 2018 Dennis Showalter
regard themselves 2019 Arata Isozaki
KENZO
as no more than 2020 Yvonne Farrell and
TANGE
just ordinary Shelley Mcnamara
citizens without the 2021 Jean-Philippe Vassal
power to reform 2022 Diébédo Francis Kéré
the future.”
QUOTES “Architecture
WALTER
Architect/s Notable Quote/s begins where
GROPIUS
“An idea is engineering ends.”
salvation by
FRANK imagination.” PRITZKER ARCHITECTURE WINNERS
LLOYD “A doctor can bury YEAR WINNER/S
WRIGHT his mistakes, but an 1979 Philip Johnson
architect can only 1980 Luis Barragan
advise his clients to 1981 James Stirling
plant vines.” 1982 Kevin Roche
“But the building’s 1983 I.M. Pei
identity resides in 1984 Richard Meier
LOUIS
the ornament.” 1985 Hans Hollein
SULLIVAN
“Form ever follows 1986 Gottfried Bohm
function.” 1987 Kenzo Tange
MIES VAN “God is in the 1988 Oscar Nemeyer and
DER ROHE details.” Gordon Bunshaft
25 | A R C H 5 0 1 - T H E O R Y O F A R C H I T E C T U R E