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1. THE0RY OF DESIGN-1
(B.Arch – Calicut University 2017)
MODULE I INTRODUCTION TO ARCHITECTURE (15 Hours)
Understanding the relevant terms – Architecture, Art, Architectural design –
Aesthetics in art and architecture.
ELEMENTS OF DESIGN – Understanding the basic elements of design: point, line,
plane, volume. FORMS – Properties of forms - Understanding perceptual effects of
geometric forms, cube, sphere, pyramid, cylinder and cone and its section as well as
their derivatives with respect to the evolution of architectural form and space –
Transformation of forms –Articulation of forms.
SPACE – Understanding perceptual effects of specific configuration of architectural
spaces – Elements defining spaces –Spatial relationships - Spatial organisation –
centralised, linear, radial, clustered, grid –built form and open space relationships.
3. THE TERM :
ARCHITECTUR
E
Originated from the Greek word “Architekton”
[ Archi – great / chief, Tekton – builder /
creator ]
Architecture is the art and science of building
It is the conscious creation of utilitarian spaces
with the deliberate use of material
Architecture should be technically
efficient and aesthetically pleasing.
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
3
4. ARCHITECTURE :
as a discipline
ARCHITECTURE – an ability to
organize, manipulate and
articulate the constant and
variable component parts of size,
shape, and treatment.
ARCHITECTURE - a language
of sequential path, place, and
transition spaces in relationship
to site, location, and orientation.
ARCHITECTUR
E
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
4
5. ARCHITECTURE :
satisfying human needs
Food,
Shelter,
Clothing
Education,
Science,
Government
Religion,
Art
Recreatio
n
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
5
6. ARCHITECTURE
: functional The
architect
should have a
comprehensive
understanding
of the client
activities before
beginning to
design.
[ [
FUNCTION
AESTHETI
PSYCHOLOGIC
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
6
8. ARCHITECTURE :
psychological
FUNCTION
AESTHETI
PSYCHOLOGIC
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
8
• Play with human mind
• mood and productivity
• affect health and wellbeing
• expression of cultural pride,
• societal passion, or national
esteem
• Space, form, and light
[ [
9. ARCHITECTURE :
psychological
FUNCTION
AESTHETI
PSYCHOLOGIC
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
9
• Physical structure has a significant effect on human
behavior.
As humans find themselves spending more time enclosed within the walls of structure, it
becomes valuable to design structures integrating features of the natural environment and
structural landscape features into the human-made environment (Joye, 2007).
• Research suggests the design of residential and commercial space has pervasive
effects on its inhabitants and is an important consideration in architectural design.
• Space, form, and light are elements that are often incorporated either purposefully or
unconsciously for aesthetic or practical reasons but more pointedly give people
meaning, purpose and stability amidst an ever changing physical universe of seeming
chaos.
[ [
10. UNIT 01: ELEMENTS
OF DESIGN
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
1
0
Understanding fundamental elements such as point, line, plane, form
and space, shape, pattern, light, color, surface and texture with
reference to the evolution of architectural form and space.
11. POI
NT
Marks a position in space
Conceptually, it has no length, width or depth
It is static, centralized and directionless
A point can serve to mark:
The two ends of a line.
The intersection of two lines.
The meeting of lines at the corner of a plane or
volume.
The center of a field.
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
1
1
12. POI
NT
A point has no dimension. To visibly mark a position
in space or on the ground plane, a point must be
projected vertically into a linear form, as a column,
obelisk, or tower. Any such columnar element is
seen in plan as a point and therefore retains the
visual characteristics of a point.
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
1
2
13. POI
NT
Other point-generated forms that share
these same visual attributes are the:
• Circle
• Cylinder
• Sphere
CIRC
LE
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
1
3
CYLIND
ER
SPHE
RE
14. POI
NT
THOLOS AT EPIDAURUS :
CIRCLE
BAPTISTERY AT PISA, ITALY:
CYLINDER
CENOTAPH FOR SIR ISAAC NEWTON:
SPHERE
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
1
4
15. LI
N
E
Two points describe a line that connects
them.
Although the points give this line finite
length, the line can also be considered a
segment of an infinitely longer path.
A point extended becomes a line.
Conceptually, a line has length, but no width
or depth. Whereas a point is by nature static,
a line in describing the path of a point in
motion, is capable of visually expressing
direction, movement and growth.
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
1
5
16. Two points further suggest an axis
perpendicular to the line they describe and
about which they are symmetrical.
Because this axis may be infinite in
length, it can be at times more dominant
than the described line.
A line is a critical element in the
formation of any visual composition.
It can serve to:
1. Join, link, support, surround or intersect
other visual elements.
2. Describe the edges of and give
shape to planes.
3. Articulate the surface of planes.
LI
N
E
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
1
6
19. PL
AN
E
A line extended in a direction other than its
intrinsic direction becomes a plane.
Conceptually, a plane has length and width,
but no depth.
The properties of a plane – its surface
colour, pattern, texture – affects its visual
weight and stability.
PLAN
E
PLANE
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
1
9
20. PL
AN
E
Planes in architecture define three-
dimensional volumes of mass and space.
The properties of each plane – size, shape,
color, texture as well their spatial relationship
to one another ultimately determine the
visual attributes of the form they define and
the qualities of the space they enclose.
In architectural design, we manipulate
three generic types of planes.
1. Overhead
Plane
2. Wall Plane
3. Base Plane.
Wall
Plane
Base Plane
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
2
0
Overhead
Plane
21. PL
AN
E
1. OVERHEAD PLANE: The overhead plane can be
either the roof plane that spans and shelters the
interior spaces of a building form, the climatic
elements, or the ceiling plane that forms the
upper enclosing surface of a room.
2. WALL PLANE: The Wall Plane, because of its
vertical orientation, is active in our normal field
of vision and vital to the shaping and enclosure
of architectural space.
3. BASE PLANE: The base plane can be either the
ground plane that serves as the physical
foundation and visual base for building forms, or
the floor plane that forms the lower enclosing
surface of a room upon which we walk.
Wall
Plane
Base Plane
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
2
1
Overhead
Plane
22. THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
1
6
PLANAR
ELEMENTS
ROBIE HOUSE, FRANK LLOYD
WRIGHT
23. THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
1
7
PLANAR
ELEMENTS
FALLING WATER, FRANK LLOYD
WRIGHT
24. VOL
UME
A Plane extended in a direction other
than its intrinsic direction becomes a
volume.
Conceptually, a volume has three
dimensions : length, width and depth.
A volume can be either a solid – space
displaced by mass – or a void – space
contained or enclosed by planes.
All volumes
consists of: Points
or vertices
Lines or edges
Planes or surfaces.
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
2
4
25. VOLUME : space
displaced by mass
NOTRE DAME DU HAUT, RONCHAMP, FRANCE, AR. LE
CORBUSIER
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
2
5
26. VOLUME : space
displaced by void
ST. PETERS SQUARE, ROME,
ITALY
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
2
2
27. FO
RM
Form is the primary identifying characteristic
of a volume.
It is established by the shapes and
interrelationships of planes that
describe the boundaries of the volume.
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
2
7
Form may refer to an external appearance that can be
recognized.
It often denotes 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.
30. FORM :
SIZE
SHAP
SIZ
COLOU
TEXTU
POSITIO
ORIENTATIO
VISUAL
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.
SURFA
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
3
0
31.
32. FORM :
COLOUR
SHAP
SIZ
COLOU
TEXTU
POSITIO
ORIENTATIO
VISUAL
A phenomenon of light and visual perception
that may be described in terms of an
individual’s perception of hue, saturation,
and tonal value.
Colour is the attribute that most clearly
distinguishes a form from its environment.
It also affects the visual weight of a form.
SURFA
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
3
2
33.
34. FORM :
TEXTURE
SHAP
SIZ
COLOU
TEXTU
POSITIO
ORIENTATIO
VISUAL
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.
SURFA
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
3
4
42. FORM :
VISUAL
INTERTIA
SHAP
SIZ
COLOU
TEXTU
POSITIO
SURFA
The degree of concentration and stability
of a form.
The visual inertia of a form depends on its
geometry as well as its orientation relative
to the ground plane, the pull of gravity, and
our line of sight.
ORIENTATION
VISUAL
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
4
2
44. FORM :
SURFACE
SHAP
SIZ
COLOU
TEXTU
POSITIO
SURFA
Surfaces refers to any figure having only
two dimensions, such as a flat plane.
The term, however, can also allude to a
curved two-dimensional locus of points
defining the boundary of a three-
dimensional solid.
ORIENTATION
VISUAL
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
4
4
46. PERCEPTUAL EFFECTS OF
GEOMETRIC FORM
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
4
6
Understanding perceptual effects of specific geometric forms such as
sphere, cube, pyramid, cylinder and cone and its sections as well as
their derivatives with respect to the evolution of architectural form and
space.
47. FORM :
SPHERE
A solid generated by the revolution of a
semicircle about its diameter, whose surface
is at all points equidistant from the center.
A sphere is a centralized and highly
concentrated form.
Like the circle from which it is generated, it is
self- centering and normally stable in its
environment.
It can be inclined toward a rotary motion
when placed on a sloping plane.
From any viewpoint, it retains its circular
shape.
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
4
7
48. FORM :
SPHERE
MAUPERTIUS, PROJECT FOR AN AGRICULTURAL LODGE, 1775, CLAUDE-
NICOLAS LEDOUX
MATRI MANDIR, AUROVILLE, AR. ROGER
ANGER
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
4
8
49. FORM :
CIRCLE
The Circle symbolizes unity, stability,
rationality. It is also the symbol of infinity,
without beginning or end, perfection, the
ultimate geometric symbol.
It represents a completeness which
encompasses all space and Time.
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
4
9
50. FORM :
CIRCLE
AL DAR HEADQUARTERS, MZ
ARCHITECTS
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
5
0
51. FORM :
HEMISPHER
E
Cut horizontally in half.
Cut portion forms an edge, circular in
plan.
The dome and the edge portion give the
visual character.
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
5
1
53. FORM :
CYLINDER
A solid generated by the revolution
of a rectangle about one of its
sides.
A cylinder is centralized about the axis
passing through the centers of its two
circular faces.
Along this axis, it can be easily extended.
The cylinder is stable if it rests on one of
its circular faces; it becomes unstable when
its central axis is inclined from the vertical.
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
5
3
55. FORM :
CONE
A solid generated by the revolution of a
right triangle about one of its sides.
Like the cylinder, the cone is a highly stable
form when resting on its circular base,
and unstable when its vertical axis is tipped
or overturned.
It can also rest on its apex in a precarious
state of balance.
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
5
5
56. FORM :
CONE
PROJECT FOR A CONICAL CENOTAPH, 1784, ÉTIENNE-
LOUIS BOULÉE
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
5
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57. FORM :
PYRAMID
A polyhedron having a polygonal base
and triangular faces meeting at a
common point or vertex. The pyramid
has properties similar to those of the
cone.
Because all of its surfaces are flat planes,
however, the pyramid can rest in a stable
manner on any of its faces.
While the cone is a soft form, the
pyramid is relatively hard and angular.
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
5
7
59. FORM :
CUBE
A prismatic solid bounded by six equal
square sides, the angle between any two
adjacent faces being a right angle.
Because of the equality of its dimensions, the
cube is a static form that lacks apparent
movement or direction.
It is a stable form except when it stands
on one of its edges or corners.
Even though its angular profile is affected by
our point of view, the cube remains a
highly
recognizable form.
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
5
9
63. S
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Fourvertical planes encompassinga field of space
isprobably the mosttypical, and certainly the
strongest,type of spatial definition in architecture.
Sincethefield iscompletely enclosed, its space is
naturally introverted.
T
oachieve visual dominance within a spaceor
becomeits primary face, oneof the enclosing
planes canbe differentiated from the othersby its
size,form, surface articulation, or by the nature of
theopenings within it.
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64. S
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Thedegree of enclosure of a space,asdetermined by
the configuration of its defining elementsand the
pattern of its openings, hasa significant impact onour
perception of its form and orientation.
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65. S
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NOTRE DAME DU HAUT
,RONCHAMP, FRANCE, AR. LE CORBUSIER
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CHURCH OF LIGHT
,AR. TADAO ANDO
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Twospacesmaybe related to eachother in several fundamental ways.
Space within a Space
Aspacemaybe contained within
the volumeof a larger space.
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Adjacent Spaces
Thefield of a spacemayoverlap
the volumeof another space.
Interlocking Spaces
Twospacesmayabut eachother
or sharea commonborder.
Spaces Linked by a Common Space
Twospacesmayrely onan intermediary
spacefor theirrelationship.
68. S
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Alarge spacecanenvelop and contain a smaller
spacewithin its volume.
Visual and spatial continuity between the two spaces
canbe easily accommodated,but the smaller,
contained spacedepends onthelarger, enveloping
spacefor its relationship to the exterior environment.
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69. S
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Aninterlocking spatial relationship resultsfrom the
overlapping of two spatial fields and the emergence
of a zoneof sharedspace.
When two spacesinterlock their volumesin this
manner,eachretains its identity and definition asa
space.Butthe resulting configuration of the two
interlocking spacesissubjectto a numberof
interpretations.
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70. S
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Adjacency isthe mostcommontype of spatial
relationship.
It allows eachspaceto be clearly defined and to
respond, eachin its ownway, to specific functional or
symbolic requirements.
Thedegree of visual and spatial continuity that occurs
between two adjacent spacesdepends onthe nature
of the plane that both separates and binds them
together.
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71. S
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Twospacesthat are separated by distance canbe linked or
related to eachother by a third, intermediate, space.
Thevisual and spatial relationship between the two spaces
depends onthe nature of the third spacewith whichthey
sharea commonbond.
Theintermediate spacecandiffer in form and orientation
from the two spacesto expressits linking function.
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72. Thefollowing sectionlays out the basic wayswe canarrange and
organize the spacesof a building. Ina typical building program, there
are usually requirementsfor variouskindsof spaces.Theremaybe
requirementsfor spaces that
Havespecific functionsor require specific forms
Are flexible in useand canbe freely manipulated
Are singular and uniquein their function or significance to the building
organization
Havesimilar functionsand canbe grouped into a functional cluster or
repeated in a linear sequence
Requireexterior exposure for light, ventilation, outlook, or access to
outdoor spaces
Mustbe segregated for privacy
Mustbe easily accessible
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73. S
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Centralized Organization
A central, dominantspaceabout whicha numberof secondaryspacesare grouped
Linear Organization
A linear sequenceof repetitive spaces
Radial Organization
A central spacefrom whichlinear organizations of spaceextend ina radialmanner
Clustered Organization
Spacesgrouped by proximity or the sharingof a commonvisualtrait or relationship
Grid Organization
Spacesorganized within the field of a structuralgrid or other three-dimensional framework
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74. S
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Acentralized organization isa stable,
concentratedcompositionthat consists
of a numberof secondary spaces grouped
around a large, dominant, central space.
Centralized organizations whoseformsare
relatively compactand geometrically regular
canbe usedto:
• establish points or places in space
• terminate axial conditions
•serveasanobject-form within a defined
field or volumeof space
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76. S
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• Alinear organization consistsessentially of a
seriesof spaces.
• Thesespacescaneither be directly related to
oneanother or be linked througha separate
and distinct linear space.
• Alinear organization usually consistsof
repetitive spaceswhichare alike in size,form,
and function.
• It mayalso consistof a single linear spacethat
organizes along its length a seriesof spaces
that differ in size,form, or function.Inboth
cases,eachspacealong thesequencehasan
exterior exposure.
T
H
E
O
R
YO
FA
R
C
H
I
T
E
C
T
U
R
E| P
R
E
S
E
N
T
A
T
I
O
NB
Y
:A
R
.G
E
E
V
AC
H
A
N
D
A
N
A 76
77. S
P
A
C
E:L
I
N
E
A
R
O
R
G
A
N
I
Z
A
T
I
O
N
S
• Theform of a linear organization canrelate to
other formsin its context by:
• linking and organizing themalong its length
• serving asa wall or barrier to separate them
into different fields
• surrounding and enclosing themwithin a field of
space
T
H
E
O
R
YO
FA
R
C
H
I
T
E
C
T
U
R
E| P
R
E
S
E
N
T
A
T
I
O
NB
Y
:A
R
.G
E
E
V
AC
H
A
N
D
A
N
A 77
79. S
P
A
C
E: R
A
D
I
A
LO
R
G
A
N
I
Z
A
T
I
O
N
S
• Aradial organization of spacecombines
elementsof both centralized and linear
organizations.
• It consistsof a dominant central spacefrom
whicha numberof linear organizations extend
ina radial manner.
• Whereas a centralized organization isan
introverted schemethat focusesinward onits
central space,a radial organization isan
extroverted plan that reachesout to its context.
• With its linear arms,it canextend and attach
itself to specific elementsor features of its site.
T
H
E
O
R
YO
FA
R
C
H
I
T
E
C
T
U
R
E| P
R
E
S
E
N
T
A
T
I
O
NB
Y
:A
R
.G
E
E
V
AC
H
A
N
D
A
N
A 79
81. S
P
A
C
E:C
L
U
S
T
E
R
E
DO
R
G
A
N
I
Z
A
T
I
O
N
S
• Aclustered organization relies onphysical
proximity to relate its spacesto oneanother.It
often consistsof repetitive, cellular spacesthat
have similar functionsand sharea common
visual trait suchasshapeor orientation.
• Aclustered organization canalso accept within
its compositionspacesthat are dissimilar in size,
form, and function, but related to oneanother
by proximity or a visual ordering device suchas
symmetry or an axis.
T
H
E
O
R
YO
FA
R
C
H
I
T
E
C
T
U
R
E| P
R
E
S
E
N
T
A
T
I
O
NB
Y
:A
R
.G
E
E
V
AC
H
A
N
D
A
N
A 81
84. S
P
A
C
E:G
R
I
D
O
R
G
A
N
I
Z
A
T
I
O
N
S
• Agrid organization consistsof formsand
spaceswhosepositions in spaceand
relationships with oneanother are regulated by
a three-dimensional grid pattern or field.
• Agrid iscreated by two, usually perpendicular,
setsof parallel linesthat establisha regular
pattern of points at their intersections.
• Projected into the third dimension, the grid
pattern istransformed into a setof repetitive,
modular unitsof space.
T
H
E
O
R
YO
FA
R
C
H
I
T
E
C
T
U
R
E| P
R
E
S
E
N
T
A
T
I
O
NB
Y
:A
R
.G
E
E
V
AC
H
A
N
D
A
N
A 84
