1.

ENUMERATE 10 ARCHITECTS DICTUM AND EXPLAIN YOUR INTERPRETATION

SULLIVAN L0UIS
“FORM FOLLOWS FUNCTION”
THE PRINCIPLE IS THAT THE SHAPE OF A BUILDING OR OBJECT SHOULD BE PRIMARILY BASED UPON ITS
INTENDED FUNCTION OR PURPOSE. A TALL BUILDING'S EXTERIOR DESIGN (FORM) SHOULD REFLECT THE
ACTIVITIES (FUNCTIONS) THAT TAKE PLACE INSIDE ITS WALLS, REPRESENTED BY MECHANICAL
EQUIPMENT, RETAIL STORES, AND OFFICES.

LUDWIG MIES VAN DER ROHE

“LESS IS MORE”
SIMPLICITY IS BETTER THAN ELABORATE EMBELLISHMENT; SOMETIMES SOMETHING SIMPLE IS BETTER
THAN SOMETHING ADVANCED OR COMPLICATED. MANY DESIGNERS USE THIS EXPRESSION AS A
PHILOSOPHY OR INSPIRATION TO DESIGN THINGS THAT ARE SIMPLE, YET BEAUTIFUL. THE PHRASE LESS IS
MORE MEANS THAT HAVING JUST THE ESSENTIAL THINGS IS BETTER THAN HAVING WAY TOO MUCH OF
SUPERFLUOUS THINGS. IT ALLOWS YOU TO FOCUS ON WHAT MATTERS.

SIR WINSTON CHURCHILL

“WE SHAPE OUR BUILDINGS: THEREAFTER THEY SHAPE US”
THEY DO INDEED SHAPE US, ARCHITECTURE IS THE PROCESS OF PLANNING, DESIGNING AND
CONSTRUCTING BUT THE PHYSICAL STRUCTURES OF A BUILDING CAN HAVE A SIGNIFICANT INFLUENCE
ON A PERSON’S MOOD AND THEIR OVERALL PERCEPTIONS OF THEIR SURROUNDINGS. THE BUILDINGS WE
LIVE AND WORK IN HAVE AN IMPACT ON US AND WE NEED TO DEVELOP AND MANAGE THEM IN TUNE
WITH MORE RESPONSIBLE USE OF THE WORLD'S NATURAL RESOURCES.

FRANK LLYOD WRIGHT

“ARCHITECTURE IS ORGANIC”
IT PROMOTES HARMONY BETWEEN HUMAN HABITATION AND THE NATURAL WORLD. THIS IS ACHIEVED
THROUGH DESIGN APPROACHES THAT AIM TO BE SYMPATHETIC AND WELL-INTEGRATED WITH A SITE,
SO BUILDINGS, FURNISHINGS, AND SURROUNDINGS BECOME PART OF A UNIFIED, INTERRELATED
COMPOSITION. REFERS TO DESIGNING AND BUILDING STRUCTURES AND SPACES THAT ARE BALANCED
WITH THEIR NATURAL SURROUNDINGS AND TAILORED TO THE FUNCTION THEY SERVE FOR THEIR
INHABITANTS. ORGANICALLY DESIGNED STRUCTURES SEEM TO MELD WITH THE LANDSCAPE OR RISE
FROM IT AS IF THE SURROUNDING SPACES GAVE BIRTH TO THEM. ARCHITECTS AND DESIGNERS SHOULD
ABANDON THE STYLE TRADITIONS THEY LEARNED AND EMBRACE DESIGNS SHAPED BY THE NATURE OF
THE COMPONENT MATERIALS, IN HARMONY WITH THE SURROUNDING LANDSCAPE. FRANK LLYOD
WRIGHT WANTED US TO ENVISION FORM AND FUNCTION AS A SINGLE, INTERCONNECTED ELEMENT.
PHILIP JOHNSON
“ALL ARCHITECTS WANT TO LIVE BEYOND THEIR DEATHS”

OSCAR NIEMEYER
“FORM FOLLOWS BEAUTY”

DANIEL BURNHAM
"MAKE NO LITTLE PLANS; THEY HAVE NO MAGIC TO STIR MEN'S BLOOD"
MANY PEOPLE BELIEVE THAT YOU ONLY GET ONE CHANCE ON THIS PLANET. WITH THAT PHILOSOPHY IN
MIND, WE SHOULD NOT WASTE A LIFE STAYING SMALL, AIMING HIGH WAKES A PERSON UP. IT MAKES US
PART OF SOMETHING BIGGER THAN OURSELVES. HAVING A LIFE FILLED WITH SMALL PLANS MAKES LIFE
FLAVORLESS AND LACKLUSTER IN COLOR. IT IS BY REACHING BEYOND OUR PERCEIVED MEANS THAT WE
ARE TESTED. IT IS BY TESTING OURSELVES THAT WE BECOME CONSCIOUS OF OUR ABILITIES, THEREBY
BECOMING CONSCIOUS OF OUR LIVES.

LOUIS KAHN
"ARCHITECTURE IS THE REACHING OUT FOR THE TRUTH"
A GREAT BUILDING MUST BEGIN WITH THE UNMEASURABLE, MUST GO THROUGH MEASURABLE MEANS
WHEN IT IS BEING DESIGNED AND IN THE END MUST BE UNMEASURABLE.

LUDWIG MIES VAN DER ROHE

“GOD IS IN THE DETAILS”
IT MEANS THAT WHEN ATTENTION IS PAID TO THE SMALL THINGS IT CAN HAVE THE BIGGEST REWARDS
AND THAT THE DETAILS MATTER. THE DETAILS DO MATTER AND EVEN THE SMALLEST DETAIL CAN HAVE
THE BIGGEST IMPACT AND WHEN FULLY APPRECIATED ONE CAN HOPEFULLY SEE THE BEAUTY IN
ATTENTION TO DETAIL AND HOW IT CAN ENRICH THE EXPERIENCE.

WALTER GROPIUS
“ARCHITECTURE BEGINS WHERE ENGINEERING ENDS”

AN ARCHITECT IS A GENERALIST WHO INCORPORATES ALL OF THE ENGINEERING DISCLIPINES AND PUTS
THEM INTO USE IN AN ASTHETICALLY APPEALING FORM. ENGINEERING WORKS TO MAKE SURE THE
BUILDING WILL STAND BUT ARCHITECTURE BEAUTIFIES THE STRUCTURE, ADDING THE ORNAMENTAL
TOUCHES, NOT NECESSARY FOR STRUCTURE BUT MAKING A MORE PLEASANT APPEARANCE.
2. EXPLAIN ALL THE PRINCIPLES OF COMPOSITION GIVE EXAMPLES (PICTURE)
UNITY/DUALITY

RHYTHM/REPETITION
SCALE
PROPORTION
CONTRAST
Opposition or dissimilar elements in a work of design to intensify each elements properties and produce
a more dynamic expression. The interdependency of the elements is achieved by the tension of their
opposite characteristics. It creates a visual variety, excitement, and interest to the building and can be
achieved in a one building or group of buildings on the scale of streetscape. It can be recognized when
two adjacent parts are different from one another, different materials, colors, and textures. Light, shade,
and shadow of masses can create contrast.

Contrast in terms of form, color and surface

treatment compare to the rest of the building

BALANCE
Creates a state of equilibrium of the visual forces as well as feeling of stability in the composition. In a
balance design, visual forces of equal strength pull in opposite directions towards the opposite sides of an

axis or a central pivot. A

balanced design has a unity of composition. It could be symmetrical or asymmetrical as long as the
building expresses and maintain a sense of equilibrium.
HARMONY
The pleasing agreement of parts or combination of parts in a composition. Harmony involves the
selection/design elements that share a common trait, however it becomes monotony without variety. The
repetition of design element like color texture, shape and form is one of the easiest way to achieve
harmony.

VITALITY
Vitality mean life and life force. It signifies liveliness in buildings and it is obtained by varying proportion
of solid and void. Accentuated by cantilevers, curves, slope, colour, façade treatment.. Vatality expresses
life, bold and dynamism.

DYNAMISM

RESTRAINT
Restraint brings simplicity and elegance in the design. It is characterized by minimalistic in design,
concentrate on the functionality of the building without additional ornamentation. Restraint in design is
the quality of holding it back and implementing something which solves the problem in the simplest way
possible.
REPOSE
Refer to rest, tranquility and quietness. It is opposite to vitality, creating a sense of pleasant and
peacefulness. It can be achieved in form, shape, materials and color. Carefully introduce landscape and
waterbody in design can exemplify repose.

DEFINITION
Clearly defining the outer line or the form of any components of a building or any part of the building.
Example, defining the arch and window opening and defining various floor in the tall building.

The base, shaft and the top floors are clearly defined by giving different surface
treatment. Each floor has different purpose and therefore should be treated
differently. The edge of the building is defined by wide heavy vertical column.

STRENGTH
It is expression of durability and stability in design. Building visually looks strong and stable. Strength can
be achieved by use of material (stone, rough textured finish), by massing (wide base and narrow tower),
by shape (pyramid and rectangle), and by structural element position.
ACCENTUATION
Emphasis certain part of the building or highlight certain parts in the building. This creates visual interest
and focus in the composition. Accentuation can be achieved by contrast, massing, ornamentation, color
and positioning.

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.
Hierarchy 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. In some cases, an element can dominate by being significantly
smaller than the other elements in the organization, but placed in a well-defined setting.
Hierarchy by Space
A form or space can be made visually dominant by clearly differentiating its shape from that of the other
elements in the composition. A discernible contrast in shape is critical, it can be change in geometry or
regularity. Shape should be compatible with functional use.
Hierarchy by Placement
A form or space may be strategically placed to call attention to itself as being the most important element
in a composition
GRADATION