TAPP 1 - Falls under modernism

- E.g. le Corbusier
Modernism movement
Wainright building Prime generator of form
Fallingwater house 1. Point
Villa Savoye - Indicates a position in space
Sydney Opera House - Two ends of a line
- Intersection of two lines
Postmodernism - Meeting of lines at the corner
Team Disney center by Michael graves - Center of a field
Robot building Thailand o Two points
Kindergarten center Germany  Two columnar elements or
Plaza italia by Charles moore centralized forms can define an axis
 Can denote a gateway signifying a
Deconstructivism passage from one place to another
Winery hotel – frank gehry  Ex: gateway (edges)
Vitra fire station – zaha haded 2. Line
Wexner center - Point extended with properties of length, direction,
Royal onotorio – Daniel liebstiend position
- Critical element in formation of any visual
Santiago Calatrava construction
Milwaukee art museum - Linearity and direction
NYC world trade center (the oculus) 3. Plane
City of arts and sciences, valencia - Line extended with properties of length and width,
UAE pavilion shape, surface, orientation, position
- Three-dimensional volumes of mass and space
Kenzo Tange - 3 types of planes:
Toyoko olympc arena o Overhead plane: ceiling and roof
Fuji broadcasting center o Wall plane: walls or any vertical enclosure
Shizuoka tower o Base plan: visual base for form
4. Volume
Jean Nouvel - Plane extended with properties of length, width,
One central park depth, form and space, surface, orientation, position
Philharmonie de paris - Quality of space displaced by mass of a building
Louvre museum abu dhabi - The visual weight
Torre glories - FORM is the primary identifying characteristic of a
volume
National Artists for Architecture
Juan Nakpil
Pablo Antonio
Lenadro Locsin
IP Santos
Jose Zaragoza
Francisco manosa

Le Corbusier
Philip johnson
IM Pei CBS building, Eero Saarinen
SR Crown Hall, LMVR

CCP – Leandro Locsin

Guggeinheim Museum NY – FLW
Colline Notre Dame – Le Corbusier
Theory of Architecture
Form, Space, and Order

Whitebox architecture
 - Seagram building, LMVDR

SHAPE Shell construction

- Principal aspect by which we identify and categorize - L’Oceanografic, felix candela
forms - Curved reinforced concrete
- Surface configuration of volumetric form - Sydney Opera House, Jorn Utzon (Pritzker award)
a. Size – physical dimension of LWD of a form - Walt Disney concert hall, frank Gehry
b. Color – phenomenon of light and visual
perception (hue, saturation, tonal value)
c. Texture – degree to which surface of a form
reflects or absorbs incident light
d. Shape – 2D surface configuration
FORM
- Sense of 3D dimensional mass or volume
a. Position: relative to environment
b. Orientation: direction of form
c. Visual inertia: degree of concentration and
stability

Parthenon vs. Pantheon

- GREEK Parthenon: post and lintel (structural)
- ROMAN Pantheon: monumental, ornamental
- Diameter of oculus: 8.8

Transformation of form
a. Dimensional
- Altering one or more of its dimensions, retains its
identity

Forms of the building

a. Cylindrical (MIT Chapel, Eero Sarinen)
b. Spherical (Charles Ledoux)
c. Pyramid (The Louvre, IM Pei) b. Subtractive
- Subtracting portion of volume

c. Additive
- Addition of elements

Inverted pyramid, Oscar Niemeyer

- Caracas museum
- Niteroi contemporary arts museum
Rectangular prism
Identification

- The gherkin, norman foster (venus flower basket

sponge)
o Norman Foster - hero of high tech Habitat-67, Moshe Safdie
The Interlace, Ole Scheeren
architecture
o Diagrid
ARTICULATION OF FORM & SURFACE
- Nakagin Capsule Tower (metabolism, additive) Kisho
Articulation
Kurukawa
- Manner in which the surfaces of a form come
- Mahanakhon Tower (subtractive), Rem Koolhaas
together to define its shape and volume
Can be articulated by:
Additive Form
- Differentiating by adjoining plane with a change in
Basic possibilities:
material, color, texture, or pattern
a. Centralized form
- Developing corners
- Clustered about a dominant, central parent-form
- Removing corners
- Lighting form to create contrast in tonal value

b. Linear form
- Arranged sequentially in a row

Johnson Wax, Frank Lloyd Wright

c. Radial form
- Extending outward from a central form

d. Clustered form
- Collection of forms grouped together by proximity or
sharing of a common visual trait

e. Grid form
Kauffman House
- Forms related and regulated by a 3D grid
Surface Articulation
- Use of color, texture, and pattern
 o Linear patterns can emphasize height,
length, unify its surface, define textural
quality
- Linear framework
- Joining and assembling of materials in construction

ORGANIZATION OF FORM AND SPACE

Organization of spaces into coherent patterns of form and
space Unite d’Habitation, Le Corbusier (Linear)

a. Space within a space

- May be contained within volume of a larger space MIT Bakerhouse Dormitory, Aalvar Alto (Linear)
b. Adjacent spaces

Crystal Palace, Joseph Paxton (Grid)

- Two spaces may share a common border

c. Interlocking spaces

- May overlap the volume of another space

d. Spaces linked by a common space St. Andrews University, James Stirling (Radial)

- Two spaces may rely on an intermediary space for

their relationship
Traditional Japanese House (Clustered)

Circulation Elements
a. Approach

- The distant view

b. Entrance
Villa Capra, Palladian Architecture, Andrea Palladio
(Centralized)

- From outside to inside

 - Gateways, main doors - Line about which forms and spaces can be arranged
c. Configuration of path in a symmetrical or balanced manner
2. Symmetry
- Balanced distribution and arrangement of equivalent
forms, on opposite sides of a dividing line, plane, or
about a center or axis
o Bilateral symmetry – balanced arrangement
- Sequence of spaces of elements on opposite sides of a median
d. Path-space relationships axis, only one plane to divide into identical
- Edges, nodes, terminations of the path halves
o Pass by spaces o Radial symmetry – similar halves by passing
a plane at any angle around a center point or
central axis
3. Hierarchy
- Articulation of importance of form, placement
relative to other forms
- Hierarchy by:
o Size
 Integrity of each space is o Shape
maintained o Placement
 Flexible configuration - Acropolis (greek): city at the top (temples, propylaea)
 Mediating spaces as links 4. Rhythm
o Pass through spaces - Unifying movement characterized by patterned
repetition or alteration
- Motifs in the same or modified form
- Simplest form: REPITITION (linear)
5. Datum
- line, plane, or volume by its regularity serves to
 Path may space through space organize a pattern of forms or space
axially, obliquely, or along edge - organizes random pattern of elements through
 Path creates patterns of rest and regularity, continuity, constant presence
movement within it - also a reference point or base from which building
o Terminate in a space elevation is normally measured (ground line)

 Location of space establishes path

 approach and enter functionally or
symbolically important spaces
e. Form of circulation space
- Varies according to flow
o Boundaries defined Largest and last work of Frank Lloyd
o Form relates to space it links
o Qualities of scale, proportion, light, and 6. Transformation
- Concept, structure, or organization can be altered
view
through a series of discrete manipulations and
o Entrances open onto it
permutations
o Handles changes in level with stairs and
- In response to context or set of conditions, without
ramps identity loss
DESIGN PRINCIPLES PRINCIPLE OF COMPOSITION / DESIGN
Composition
Ordering Principles - given to complete work of art, to the way which all
- Each portion of a whole is appropriately put with its elements work together to produce an overall
regard to other parts to achieve harmonic effect
arrangement
1. Scale and proportion
1. Axis Scale
 - Fixed proportion used in determining measurements
and dimensions
Proportion:
- Central principle, important connection between
mathematics and art
- Ordered set of mathematical relationships among the
dimensions of a form or space
- Theories of proportion:
o Golden section
- “everything is arranged according to numbers”
o Classical orders - Greek mathematical system of proportions
o Renaissance theories - Seven ideal plan shapes for rooms by Andrea Palladio
o Modulor
o Ken Anthropometry
o Anthropometry
Golden Section (1.618)

- Mathematical systems of proportion from

Pythagorean concept of “all is number”
- Certain numerical relationships manifest the
harmonic structure of the universe
- Rectangle with all sides proportioned: Golden
Rectangle

- Refers to measurement of size and proportions of

human body
- Affects proportion of things we handle

Palace Farnice Scale

- Refers to how we perceive or judge size of something
Classical Orders - Comparing one thing to another
- Represent in their proportioning of elements the - Types:
perfect expression of beauty and harmony o Mechanical scale – size or proportion
- Basic unit of dimension was the diameter of column relative to an accepted standard of
- Intercolumniation is the spacing between columns measurement
- Can be classified into Greek and Roman o Visual scale – size or proportion relative to
Ken (1.41) other elements of known or assumed size
o Human scale – based on dimensions and
proportions of human body
Modulor by Le Corbusier
- Attempt to give architecture a mathematical order
oriented to a human scale
- System of measurements that could govern lengths,
surfaces, and volumes, and “maintain the human
scale everywhere”
- Measurement for construction of buildings, but
involved into aesthetic module that ordered structure, 2. Balance
materials, and space of Japanese architecture - Distribution of visual weight of objects, colors,
- Based on standard size of Tatami floormat (910 x texture, and space
1820) - Visual weight harmonizes with the other elements in
Renaissance Theories the design
o Symmetrical –
o Asymmetrical – equal but not equivalent;
balanced distribution (Frank Lloyd Wright)
o Radial
 Robie House, FLW; Taj Mahal (Mughal),
Shahjehan, with home as focal point
*Mughal vs. Moorish vs. Turkish
- All visual aspects and physical features that comprise
3. Unity
the appearance of a building
- Concept can be communicated more clearly
- Elements in a composition should appear to belong
together, micro or macro scale
4. Rhythm

- Unifying movement characterized by a patterned

repetition
- Alteration of formal elements or morifs in the same /
modified form
5. Contrast

- Difference between two or more elements in a

composition
- Absence of monotomy
- Juxtaposition: two things with contrasting effect
being seen or placed close together
6. Character