BASIC PRINCIPLES OF ARCHITECTURAL DESIGN 1. UNITY AND HARMONY – the principle of design that satisfies the relationship of all the elements in a HARMONIOUS function of unit parts. – it refers to the coherence of the whole, in the sense that all of the parts are working together to achieve a common result; a harmony of all the parts. Two ways on how to achieve Unity and Harmony in design: a. Unity by Similarities – arrangement that enhance oneness in a design. b. Unity by Variety – arrangement that eliminates dullness in a design. Unity by Similarities Qualities of Unity by Similarities: 1. There should be a Common Size 2. There should be a Common Shape 3. Similar Material 4. Similar Orientation 5. Similar Color and Value 6. Similar Detail Characteristics C Unity by Variety Qualities of Unity by Variety: 1. Size 2. Texture 3. Orientation 4. Detail Characteristics 5. Color and Value Variety by Size Buckminster Fuller’s Geodesic Dome Variety by Texture Hong Kong and Shanghai Bank Tower, Hong Kong By Sir Norman Foster Variety by Orientation Brasilia, Brazil by Oscar Niemeyer Variety by Color and Detail Characteristics Municipal Building, Portland Oregon by Michael Graves 2. BALANCE AND EQUILIBRIUM – the principle of design which is the pleasing or harmonious arrangement of proportion of parts or elements of design or a composition. – the state of equilibrium between contrasting or opposing or interacting elements of design AXIS – the most basic means of organizing forms and spaces in architecture wherein a line established by two points in space and about which forms and spaces can be arranged in a regular or irregular manner. Characteristics 1. Induces movement and views along its path. 2. Termination at both ends. 3. Reinforced by defining edges. 4. Defined by Symmetrical arrangement of objects 3 Types of Balance in Architectural Design: a. Symmetrical Balance – the easiest and simplest kind of balance in which the elements are arranged in precisely the same manner on either side of a central axis. Monticello, near Charlottesville, Virginia USA By Thomas Jefferson, 1770-1808 b. Unsymmetrical Balance – an informal manner of grouping elements of varying sizes and shapes. - also called asymmetrical balance A.E. BINGHAM HOUSE, near Santa Barbara, California USA By Bernard Maybeck, 1916 c. Gravitational Balance – sometimes referred to as PICTURESQUE balance. – combination of both formal and informal balance wherein the arrangement is accidental as seen mostly in nature and the environment. HEYDAR ALIYEV CENTER, Baku, Azerbaijan By Zaha Hadid MARTA HERFORD BUILDING, Herford, Germany By Frank Gehry and Hartwig Rullkötter 3. RHYTHM and REPETITION – refers to the regular or harmonious recurrence of Lines, Shape, Forms, Volumes, or Color. – It incorporates the fundamental motion of REPETITION as a device to organize Forms and Spaces in Architecture Types of Rhythm in Architectural Design: 1. By Repetition – created by duplicating shapes, colors, patterns, textures, etc. COLUMN DETAILS at Notre Dame La Grande, France KATSURA PALACE, Kyoto, Japan ROTTERDAM CUBE HOUSE, Netherlands By Architect Piet Blom - The simplest form of Repetition is a Linear Pattern of redundant elements, wherein these elements need not to be perfectly identical to be grouped in a repetitive manner. They may share the following common traits or common denominator as follows: 2. By Gradation – created by gradual change of size, pattern and color View of Spanish Hill Town In Mojacar, Spain View of Villa Hermosa, Spain 3. By Radial Arrangements – created by identical objects coming from a central axis - Unity is often achieved through Repetition. Curved Lines, Spaces and Textures are repeated throughout the design and to the structure together aesthetically. The radial segments of a Nautilus shell spiral outward in a reverberating manner from its center and maintain the shell’s organic unity through this progressive or additive pattern. - Reverberating or Progressive patterns of Forms and Spaces can be organized in the following ways: 1. In a Radial or Concentric manner about a point. JESTER HOUSE, Palos Verdes California By Architect Frank Lloyd Wright 2. Sequentially according to size in a Linear fashion SYDNEY OPERA HOUSE, Australia By Architect Jorn Utzon 3. Randomly, but related by proximity as well as similarity of Form. THE HABITAT 67, 1967 World Expo Montreal Canada By Architect Moshe Safdie 4. CONTRAST – refers to the Opposition or Juxtaposition of dissimilar element in a design to intensify each element’s properties so as to produce a more dynamic expressiveness. – always accompanied with a state of comparison. Opposition of Contrast – state of being placed opposite to each other. Juxtaposition of Contrast – state of being placed close together or side by side. Opposition of Contrast Juxtaposition of Contrast Types of Contrast: 1. Contrast of Form – either in shape or in mass. Contrast of form (Shape) Contrast of form (Mass) 2. Contrast of Lines – may vary with reference to direction or in the account of the changes in type or character. 3. Contrast of Size – deals with the objects which may have the same shape and direction but may vary in size. 5. EMPHASIS – refers to the stress or prominence given to an element of a composition by means of Contrast, Anomaly, or Counterpoint. – it is the most dominant feature or the focal point element in a design. – it may be both Accentuation or Hierarchy in manner. ACCENTUATION – refers to the obvious difference in an element. HIERARCHY – element in design or composition that calls visual attention. EMPHASIS by ACCENTUATION The Weisman Art Museum at the University of Minnesota, USA By Frank Gehry EMPHASIS by HIERARCHY Burj Khalifa Tower, Dubai, United Arab Emirates By S.O.M. Classifications of Hierarchy in Architectural Design: 1. Hierarchy by SIZE – being significantly different in size from all the other elements in a composition. 2. Hierarchy by SHAPE – differentiating the shape from that of the other elements in a composition. 3. Hierarchy by PLACEMENT or LOCATION – a form or space may strategically located to call attention to itself as being the most important element in a composition. HIERARCHY by SIZE Shanghai Tower, China By GENSLER HIERARCHY by SHAPE Center for Molecular Science, Australia HIERARCHY by PLACEMENT or LOCATION The Gherkin at 30 St. Mary Axe, London By Sir Norman Foster 6. CHARACTER – refers to the external expression of internal qualities of a building or composition. – grows out of the function of a building and the consideration of all the creative principles of composition. 3 Types of Character: 1. FUNCTIONAL Character – or simply the use of the building. 2. ASSOCIATED or TRADITIONAL Character – influence of traditional motifs or style. 3. PERSONAL Character – influence of human quality or emotional appeal. A. FUNCTIONAL CHARACTER – most important type of character wherein it reflects the purpose of the building or the reason for its construction. Examples of Functional Characters for each Building Types: 1. MUSEUMS –it must have galleries with ample wall space and top lights which eliminates windows and the use of skylights. 2. SCHOOLS – must contain many windows to admit the necessary side light and to offer an interesting contrast with the possible monotony or very bare design of the classroom walls. 3. SHOPPING CENTERS – structures with large show windows and is usually a place for display and sale of merchandise. 4. FACTORIES – readily seen from the exterior to express the efficient operation of the manufacturing of goods within. – the exterior shows often only the structural members and little of the architectural ornamentations and treatments. 5. BANKS – a structure that should express “dignity”. – designed to house an activity which is very near to the heart and mind of an average citizen, which is “caring for their precious money”. Therefore, it should inspire confidence in its integrity by having only one(1) main entrance and very few openings. 6. CINEMA and THEATER HOUSES – a place of relaxation after a hectic schedule of activities. – psychological use of color and interior decoration are of importance in the design of the interior. – bright colors and unique architectural effects produce imaginations and interests of the viewers. 7. GOVERNMENTAL BUILDINGS – main character is that it should have a flagpole in front of the building. – must be impressive and should have dignity and commands respect. – function must be monumental, usually symmetrical in arrangement, incorporates classical designs and uses permanent materials like stone, steel, concrete or some durable and heavy materials to produce a feeling of lasting effect. 8. POLICE STATIONS – main prominent feature is the main entry and should not have many entries. 9. CHURCH – should have a long spire on top of the buildings and roofs should always be pointing at the sky to give reverence to God. 10. FAST FOOD CHAINS – should have colorful ambience to invite costumers and to reflect the foods that it sells in its exterior façade. 11. FIRE STATIONS – its main character is the parking space for fire engines and vehicles. 12. BUS TERMINALS – should reflect cleanliness, efficiency and security. 13. SUPERMARKETS – should be always on one level as much as possible. – should offer a variety of choices with easiness of purchase. 14. RESTAURANTS - should be transparent inside so as to attract customers outside to try the specialties served. - should have a welcoming atmosphere. - highly lighted, very clean and hygienic, and special emphasis on signage of which should reflect the main delicacy or specialty food served inside the restaurant. 15. OFFICE SPACES – dignified and simple as possible, and the main features are office tables and office furniture. 16. RADIO AND TV STATIONS – should be massive with limited windows because of considerations in acoustics and lighting facilities especially in TV stations. 17. HOSPITALS – should be composed of complex components such as Rehabilitations, Research, and Care for the Human Body. - should bring natural daylight to all areas of the building, except in the operating rooms and intensive care units. - usually the color of the exterior is White and should be provided with elevators and ramps for ease of access in circulations. 7. PROPORTION – the comparative, proper or harmonious relation of one part to another or to the whole with respect to magnitude, quantity, or degree. – its main intention is to create a sense of order and harmony among the elements in a visual construction SCALE – a certain proportionate size, extent, or degree, usually judged in relation to some standard or point of reference. Types of Scale in Architecture: 1. Human Scale – the size or proportion of a building element or space relative to the structural or functional dimensions of the human body. 2. Mechanical Scale – the size or proportion of something relative to an accepted standard of measurement. 3. Visual Scale – the size or proportion of a building element appears to have relative to other elements of known or assumed size. Theories of Proportion: a. The Golden Section – used mainly by the Greeks in the proportions for the human body. – the Greeks use this proportioning system in the design of their temple structures in their belief that both humanity and the shrines housing their deities and gods should belong to a higher universal order. – it is the ratio between two sections of a line, or two dimensions of a plane figure, in which the lesser of the two is to the greater, as the greater is the sum of the both. b. Classical Orders – originally introduced by the ancient Greeks and Romans - represents in their proportioning elements which is the perfect expression of beauty and harmony. - the basic unit of dimensioning was the diameter of the classical columns. INTERCOLUMNIATION – a system of spacing between columns which was also based on the diameter of the classical columns. BASIC PROPORTIONING FOR CLASSICAL ORDERS (According to Archt. Vignola) 1. TUSCAN Column: entablature = 1¾ diameter capital = ½ diameter shaft = 6 diameter base = ½ diameter 2. DORIC Column: entablature = 2 diameter capital = ½ diameter shaft = 7 diameter base = ½ diameter 3. IONIC Column: entablature = 2¼ diameter capital = ½ diameter shaft = 8-1/3 diameter base = ½ diameter 4. CORINTHIAN Column: entablature = 2½ diameter capital = 7/6 diameter shaft = 8-1/3 diameter base = ½ diameter Classical Order uses “MODULES” also for proportioning: wherein 2 MODULES = 1 Column Diameter 1 MODULE = ½ Column Diameter 1 PART = 1/12 Modules c. ANDREA PALLADIO – was the most influential Italian Architect during the Renaissance period in Italy. – the most significant contribution for proper proportioning was his published book “The Four Books of Architecture” which provided systematic rules and plans for buildings which were creative and unique. VILLA LA ROTUNDA, Vicenza, North Italy - Andrea Palladio also proposed several methods for determining the height of a room so as that it would be in proper proportion to the room’s width and length. Example: - for the ceiling height of a flat ceiling, it would be equal to the width of the room. - for the ceiling height of a vaulted ceiling, it would be one third(1/3) greater than the width of the room. d. LE CORBUSIER’S “THE MODULOR” – a proportioning system developed by Le Corbusier, to “Order the dimensions of that which contains and that which is contained”. – this is a type of proportioning system which is a system of measurements that could govern lengths, surfaces and volumes, and maintain the human scale everywhere. – consists of the basic grid of three measurements: namely, 113cm, 70cm, and 43cm, which were proportioned according to the “Golden Section”.
