THEORY OF ARCHITECTURE AR THEO 113

AY 2020-2021
First Semester
UNIT 04: ELEMENTS OF ARCHITECTURE – SPACE
Understanding perceptual effects of specific configuration of architectural spaces –
Enclosure – Internal and External, Continuous spaces – Spatial relationship and its
types, Spatial organisation: Centralized, Linear, Radial Clustered, Grid – built form
and open space relationships.

2
SPACE : ENCLOSURE
Four vertical planes encompassing a field of space
is probably the most typical, and certainly the
strongest, type of spatial definition in architecture.
 Since the field is completely enclosed, its space is
naturally introverted.
To achieve visual dominance within a space or
become its primary face, one of the enclosing
planes can be differentiated from the others by its
size, form, surface articulation, or by the nature of
the openings within it.

3
 SPACE : ENCLOSURE
In an urban context, a defined field of space can organize
a series of buildings along its perimeter.
The enclosure may consist of arcades or gallery spaces
that promote the inclusion of surrounding buildings into their
domain and activate the space they define.

ST. MARKS SQUARE, VENICE, ITALY

CHAMPS ELYSEES, PARIS

4
SPACE : DEGREE OF ENCLOSURE
The degree of enclosure of a space, as determined by
the configuration of its defining elements and the
pattern of its openings, has a significant impact on our
perception of its form and orientation.

5
 SPACE : DEGREE OF ENCLOSURE

CHURCH OF LIGHT, AR. TADAO ANDO NOTRE DAME DU HAUT, RONCHAMP, FRANCE, AR. LE CORBUSIER

6
 SPACE : DEGREE OF ENCLOSURE

BARCELONA PAVILION, AR. MIES VAN DER ROHE GLASS HOUSE, PHILIP JOHNSON

7
SPACE : ORGANIZATION OF FORM & SPACES
 Two spaces may be related to each other in several fundamental ways.

Space within a Space Adjacent Spaces

A space may be contained within The field of a space may overlap
the volume of a larger space. the volume of another space.

Interlocking Spaces Spaces Linked by a Common Space

Two spaces may abut each other Two spaces may rely on an intermediary
or share a common border. space for their relationship.

8
SPACE : SPACE WITHIN A SPACE
A large space can envelop and contain a smaller
space within its volume.
Visual and spatial continuity between the two spaces
can be easily accommodated, but the smaller,
contained space depends on the larger, enveloping
space for its relationship to the exterior environment.

9
SPACE : INTERLOCKING SPACES
An interlocking spatial relationship results from the
overlapping of two spatial fields and the emergence
of a zone of shared space.
When two spaces interlock their volumes in this
manner, each retains its identity and definition as a
space. But the resulting configuration of the two
interlocking spaces is subject to a number of
interpretations.

10
SPACE : ADJACENT SPACES
Adjacency is the most common type of spatial
relationship.
It allows each space to be clearly defined and to
respond, each in its own way, to specific functional or
symbolic requirements.
The degree of visual and spatial continuity that occurs
between two adjacent spaces depends on the nature
of the plane that both separates and binds them
together.

11
SPACE : SPACES LINKED BY A COMMON SPACE
Two spaces that are separated by distance can be linked or
related to each other by a third, intermediate, space.
The visual and spatial relationship between the two spaces
depends on the nature of the third space with which they
share a common bond.
The intermediate space can differ in form and orientation
from the two spaces to express its linking function.

12
SPACE : SPATIAL ORGANIZATIONS

13
 SPACE : SPATIAL ORGANIZATIONS
The following section lays out the basic ways we can arrange and
organize the spaces of a building. In a typical building program, there
are usually requirements for various kinds of spaces. There may be
requirements for spaces that
Have specific functions or require specific forms
Are flexible in use and can be freely manipulated
Are singular and unique in their function or significance to the building
organization
Have similar functions and can be grouped into a functional cluster or
repeated in a linear sequence
Require exterior exposure for light, ventilation, outlook, or access to
outdoor spaces
Must be segregated for privacy
Must be easily accessible

14
SPACE : SPATIAL ORGANIZATIONS
Centralized Organization
A central, dominant space about which a number of secondary spaces are grouped

Linear Organization
A linear sequence of repetitive spaces

Radial Organization
A central space from which linear organizations of space extend in a radial manner

Clustered Organization
Spaces grouped by proximity or the sharing of a common visual trait or relationship

Grid Organization
Spaces organized within the field of a structural grid or other three-dimensional framework
15
 SPACE : CENTRALIZED ORGANIZATIONS
A centralized organization is a stable,
concentrated composition that consists
of a number of secondary spaces grouped
around a large, dominant, central space.

Centralized organizations whose forms are

relatively compact and geometrically regular
can be used to:
• establish points or places in space
• terminate axial conditions
•serve as an object-form within a defined
field or volume of space

16
SPACE : CENTRALIZED ORGANIZATIONS

HUMAYUNS TOMB
TAJ MAHAL

17
SPACE : CENTRALIZED ORGANIZATIONS

PANTHEON, ROME
18
SPACE : CENTRALIZED ORGANIZATIONS

GUGGENHEIM MUSEUM, AR. FRANK LLOYD WRIGHT

19
SPACE : CENTRALIZED ORGANIZATIONS

NATIONAL ASSEMBLY BUILDING, DACCA, BANGLADESH, [Link] KAHN

20
SPACE : CENTRALIZED ORGANIZATIONS

21
SPACE : CENTRALIZED ORGANIZATIONS

22
 SPACE : LINEAR ORGANIZATIONS
• A linear organization 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.
• A linear organization usually consists of
repetitive spaces which are alike in size, form,
and function.
• It may also consist of a single linear space that
organizes along its length a series of spaces
that differ in size, form, or function. In both
cases, each space along the sequence has an
exterior exposure.

23
 SPACE : LINEAR ORGANIZATIONS
• The form of a linear organization can relate to
other forms in its context by:
• linking and organizing them along its length
• serving as a wall or barrier to separate them
into different fields
• surrounding and enclosing them within a field of
space

24
SPACE : LINEAR ORGANIZATIONS

UNITED D'HABITATION, AR. LE CORBUSIER 25

SPACE : LINEAR ORGANIZATIONS

HOUSE 10, AR. JOHN HEJDUK 26

SPACE : LINEAR ORGANIZATIONS

BAKER HOUSE, AR. ALVAR AALTO 27

SPACE : LINEAR ORGANIZATIONS

28
 SPACE : RADIAL ORGANIZATIONS
• A radial organization of space 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.
• Whereas a centralized organization is an
introverted scheme that focuses inward on its
central space, a radial organization is an
extroverted plan that reaches out to its context.
• With its linear arms, it can extend and attach
itself to specific elements or features of its site.

29
 SPACE : RADIAL ORGANIZATIONS

HERBERT F. JOHNSON HOUSE, AR. FRANK LLOYD WRIGHT

30
 SPACE : RADIAL ORGANIZATIONS

SECRETARIAT BUILDING, UNESCO HEADQUARTERS, [Link] BREUER

31
 SPACE : RADIAL ORGANIZATIONS

GUGGENHEIM MUSEUM, BILBAO, SPAIN, AR. FRANK GEHRY

32
SPACE : RADIAL ORGANIZATIONS

33
 SPACE : CLUSTERED ORGANIZATIONS
• A clustered organization relies on physical
proximity to relate its spaces to one another. It
often consists of repetitive, cellular spaces that
have similar functions and share a common
visual trait such as shape or orientation.
• A clustered organization can also accept within
its composition spaces that are dissimilar in size,
form, and function, but related to one another
by proximity or a visual ordering device such as
symmetry or an axis.

34
SPACE : CLUSTERED ORGANIZATIONS

35
 SPACE : CLUSTERED ORGANIZATIONS

HABITAT MONTREAL, 1967, AR. MOSHE SAFDIE

36
 SPACE : CLUSTERED ORGANIZATIONS

HABITAT ISRAEL, JERUSALEM, 1969, MOSHE SAFDIE

37
 SPACE : CLUSTERED ORGANIZATIONS

FALLING WATER, AR. FRANK LLOYD WRIGHT

38
SPACE : CLUSTERED ORGANIZATIONS

39
 SPACE : GRID ORGANIZATIONS
• A grid organization consists of forms and
spaces whose positions in space and
relationships with one another are regulated by
a three-dimensional grid pattern or field.
• A grid is created by two, usually perpendicular,
sets of parallel lines that establish a regular
pattern of points at their intersections.
• Projected into the third dimension, the grid
pattern is transformed into a set of repetitive,
modular units of space.

40
SPACE : GRID ORGANIZATIONS

41
 SPACE : GRID ORGANIZATIONS

NAKAGIN CAPSULE BUILDING, AR. KISHO KUROKAWA

42
 SPACE : GRID ORGANIZATIONS

GANDHI ASHRAM MUSEUM, AHMEDABAD, INDIA, AR. CHARLES CORREA

43
 SPACE : GRID ORGANIZATIONS

KIMBALL ART MUSEUM, AR. LOUIS KAHN

44
SPACE : GRID ORGANIZATIONS

45
UNIT 05: PRINCIPLES OF ARCHITECTURE
Understanding fundamental principles such as proportion, scale, balance,
symmetry/asymmetry, rhythm, axis, hierarchy, datum, unity, harmony, dominance,
climax – Movement with reference to the architectural form and space – detailed
study of relationship between architectural form and circulation – Types of
circulation
– Building approach and entrance, path configuration and form, path space
relationship, orientation.
46
PRINCIPLE: PROPORTION & SCALE

47
PRINCIPLE: MATERIAL PROPORTION

48
PRINCIPLE: STRUCTURAL PROPORTION

CROWN HALL, AR. MIES VAN DER ROHE

49
PRINCIPLE: MANUFACTURED PROPORTION

50
PRINCIPLE: PROPORTION

Whole Part

51
 PRINCIPLE: PROPORTION
• Proportion is the equality between two ratios in
which the first of the four terms divided by the
second equals the third divided by the fourth.

Whole Part

52
PRINCIPLE: PROPORTION
Theories of Proportion:

• Golden Section
• Classical Orders
• Renaissance Theories
• Modulor
• Ken
• Anthropometry
• Scale

53
 PRINCIPLE: PROPORTION : 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.
• It can be expressed algebraically by the
equation of two ratios:

54
 PRINCIPLE: PROPORTION : GOLDEN SECTION

THE PARTHENON, ATHENS

55
 PRINCIPLE: PROPORTION : GOLDEN SECTION

THE PARTHENON, ATHENS

56
 PRINCIPLE: PROPORTION : CLASSICAL ORDER

• 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
the column.
• From this module were derived the dimensions
of the shaft, the capital, as well as the pedestal
below and the entablature above, down to the
smallest detail.

57
PRINCIPLE: PROPORTION : CLASSICAL ORDER

58
 PRINCIPLE: PROPORTION : CLASSICAL ORDER
TUSCAN ORDER

59
 PRINCIPLE: PROPORTION : CLASSICAL ORDER
TUSCAN ORDER

60
PRINCIPLE: PROPORTION : CLASSICAL ORDER
DORIC ORDER

61
 PRINCIPLE: PROPORTION : CLASSICAL ORDER
IONIC ORDER

62
PRINCIPLE: PROPORTION : CLASSICAL ORDER
CORINTHIAN ORDER

63
 PRINCIPLE: PROPORTION : RENAISSANCE THEORIES

S. MARIA NOVELLA, FLORENCE, ITALY.

64
 PRINCIPLE: PROPORTION : MODULAR

MODULAR MAN, AR. LE CORBUSIER

65
 PRINCIPLE: PROPORTION : KEN

JAPANESE METHOD
66
PRINCIPLE: PROPORTION : ANTHROPOMETRY

67
PRINCIPLE: PROPORTION : ANTHROPOMETRY

68
PRINCIPLE: PROPORTION : ANTHROPOMETRY

69
PRINCIPLE: PROPORTION : ANTHROPOMETRY

70
PRINCIPLE: PROPORTION : SCALE
While proportion pertains to an ordered set of
mathematical relationships among the
dimensions of a form or space, scale refers to
how we perceive or judge the size of something
in relation to something else. In dealing with the
issue of scale, therefore, we are always
comparing one thing to another.

71
PRINCIPLE: PROPORTION : SCALE

72
PRINCIPLE: PROPORTION : SCALE

73
PRINCIPLE: PROPORTION : SCALE

74
PRINCIPLE: PROPORTION : SCALE

75
REF: ARCHITECTURE FORM, SPACE & ORDER
4th edition by Francis D.K. Ching, Copyright © 2015 by John Wiley & Sons.

Copyright Disclaimer under section 107 of the Copyright Act of 1976, allowance is made for “fair use” for purposes such
as criticism, comment, news reporting, teaching, scholarship, education & research. Fair use is a use permitted by
copyright statute that might otherwise be infringing.

As per R.A. 8293, also known as the “Intellectual Property Code of the Philippines”, Sec. 185. Fair use of Copyright Work
states that:

The Fair use of a Copyright work for Criticism, Comment, News Reporting, Teaching including multiple copies for
classroom use, scholarship, research, and Similar purposes is not an Infringement of Copyright. Decomplication, which is
understood here to be the reproduction of the code and translation of the computer program to achieve the inter-
operability of an independently created computer program with other programs may also constitute fair use. In
determining whether the use made of a work in any case is fair use, the factors to be considered shall include:

 The purpose and character of the use, including whether such use is of a commercial nature or is for non-profit
education purposes;
 The nature of the Copyrighted work;
 The amount and substantiality of the portion used in relation the copyrighted work as a whole;
 The effect of the use upon the potential market for or value of the copyrighted work.
 ADDITIONAL REMARK: Some of the information and tips mentioned in the lecture & on Discussion proper is based on
Author’s personal experience in the field of the profession to, some may vary on Actual Practice depending to
Personal Preference / suggestion of other Architect
THEORY OF ARCHITECTURE AR THEO 113
AY 2020-2021
First Semester

1
UNIT 05: PRINCIPLES OF ARCHITECTURE
Understanding fundamental principles such as proportion, scale, balance,
symmetry/asymmetry, rhythm, axis, hierarchy, datum, unity, harmony, dominance,
climax – Movement with reference to the architectural form and space – detailed
study of relationship between architectural form and circulation – Types of
circulation
– Building approach and entrance, path configuration and form, path space
relationship, orientation.
2
PRINCIPLE: PROPORTION & SCALE

3
PRINCIPLE: MATERIAL PROPORTION

4
PRINCIPLE: STRUCTURAL PROPORTION

CROWN HALL, AR. MIES VAN DER ROHE

5
PRINCIPLE: MANUFACTURED PROPORTION

6
PRINCIPLE: PROPORTION

Whole Part

7
 PRINCIPLE: PROPORTION
• Proportion is the equality between two ratios in
which the first of the four terms divided by the
second equals the third divided by the fourth.

Whole Part

8
PRINCIPLE: PROPORTION
Theories of Proportion:

• Golden Section
• Classical Orders
• Renaissance Theories
• Modulor
• Ken
• Anthropometry
• Scale

9
 PRINCIPLE: PROPORTION : 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.
• It can be expressed algebraically by the
equation of two ratios:

10
 PRINCIPLE: PROPORTION : GOLDEN SECTION

THE PARTHENON, ATHENS

11
 PRINCIPLE: PROPORTION : GOLDEN SECTION

THE PARTHENON, ATHENS

12
 PRINCIPLE: PROPORTION : CLASSICAL ORDER

• 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
the column.
• From this module were derived the dimensions
of the shaft, the capital, as well as the pedestal
below and the entablature above, down to the
smallest detail.

13
PRINCIPLE: PROPORTION : CLASSICAL ORDER

14
 PRINCIPLE: PROPORTION : CLASSICAL ORDER
TUSCAN ORDER

15
 PRINCIPLE: PROPORTION : CLASSICAL ORDER
TUSCAN ORDER

16
PRINCIPLE: PROPORTION : CLASSICAL ORDER
DORIC ORDER

17
 PRINCIPLE: PROPORTION : CLASSICAL ORDER
IONIC ORDER

18
PRINCIPLE: PROPORTION : CLASSICAL ORDER
CORINTHIAN ORDER

19
 PRINCIPLE: PROPORTION : RENAISSANCE THEORIES

S. MARIA NOVELLA, FLORENCE, ITALY.

20
 PRINCIPLE: PROPORTION : MODULAR

MODULAR MAN, AR. LE CORBUSIER

21
 PRINCIPLE: PROPORTION : KEN

JAPANESE METHOD
22
PRINCIPLE: PROPORTION : ANTHROPOMETRY

23
PRINCIPLE: PROPORTION : ANTHROPOMETRY

24
PRINCIPLE: PROPORTION : ANTHROPOMETRY

25
PRINCIPLE: PROPORTION : ANTHROPOMETRY

26
PRINCIPLE: PROPORTION : SCALE
While proportion pertains to an ordered set of
mathematical relationships among the
dimensions of a form or space, scale refers to
how we perceive or judge the size of something
in relation to something else. In dealing with the
issue of scale, therefore, we are always
comparing one thing to another.

27
PRINCIPLE: PROPORTION : SCALE

28
PRINCIPLE: PROPORTION : SCALE

29
PRINCIPLE: PROPORTION : SCALE

30
PRINCIPLE: PROPORTION : SCALE

31
ORDERING PRINCIPLES
• Balance
• Symmetry/asymmetry
• Rhythm
• Axis
• Hierarchy
• Datum
• Unity
• Harmony
• Dominance
• Climax
• Movement

32
PRINCIPLE: 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.

33
PRINCIPLE: BALANCE
• Balance is the concept of visual equilibrium, and relates
to our physical sense of balance.
• Successful compositions achieve balance in one of two
ways: symmetrically or asymmetrically.

34
PRINCIPLE: BALANCE

35
PRINCIPLE: BALANCE

36
PRINCIPLE: BALANCE

37
PRINCIPLE: BALANCE

38
PRINCIPLE: BALANCE

39
PRINCIPLE: AXIS
A line established by two points in space, about
which forms and spaces can be arranged in a
symmetrical or balanced manner.

An axis can also be established simply by a

symmetrical arrangement of forms and spaces.

40
PRINCIPLE: AXIS

DARWIN D. MARTIN HOUSE AND ESTATE, FRANK LLOYD WRIGHT

41
PRINCIPLE: AXIS

TEMPLE OF AMUN AT KARNAK, EGYPT, C. 1500–323 B.C.

42
PRINCIPLE: SYMMETRY
The balanced distribution and arrangement of
equivalent forms and spaces on opposite sides
of a dividing line or plane, or about a center
or axis.

43
PRINCIPLE: SYMMETRY
There are two fundamental 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.

2. Radial symmetry refers to the balanced arrangement of

similar, radiating elements such 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.

44
 PRINCIPLE: RADIAL SYMMETRY

GREAT STUPA AT SANCHI, INDIA, C. 100 B.C.

45
 PRINCIPLE: BILATERAL SYMMETRY

UNITY TEMPLE, OAK PARK, ILLINOIS, 1905–7, FRANK LLOYD WRIGHT

46
 PRINCIPLE: SYMMETRY

CA D’ORO, VENICE, 1424–36, GIOVANNI AND BARTOLOMEO BUON

47
PRINCIPLE: 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.

This visual emphasis can be achieved by endowing a form or

shape with:
• exceptional size
• a unique shape
• a strategic location

48
PRINCIPLE: HIERARCHY
HIERARCHY BY SIZE HIERARCHY BY SHAPE HIERARCHY BY PLACEMENT

49
 PRINCIPLE: HIERARCHY

VIEW OF FLORENCE ILLUSTRATING THE DOMINANCE OF THE CATHEDRAL OVER THE URBAN LANDSCAPE
50
 PRINCIPLE: HIERARCHY

LEGISLATIVE ASSEMBLY BUILDING, CHANDIGARH, INDIA, 1956–59, LE CORBUSIER 51

 PRINCIPLE: HIERARCHY

TOWN HALL, SEINÄJOKI, 1961-65, ALVAR AALTO 52

PRINCIPLE: RHYTHM
A unifying movement characterized by a patterned repetition or
alternation of formal elements or motifs in the same or a
modified form.

Rhythm refers to any movement characterized by a patterned

recurrence of elements or motifs at regular
or irregular intervals.

53
 PRINCIPLE: RHYTHM

COLUMN DETAILS, NOTRE DAME LA GRANDE, POITIERS, FRANCE, 1130–45 54

PRINCIPLE: REPETITION
We tend to group elements in a random
composition according to:
• their closeness or proximity to one another
•the visual characteristics they share in
common

The principle of repetition utilizes both of

these concepts of visual perception to order
recurring elements in a composition.

55
PRINCIPLE: REPETITION
The simplest form of repetition is a linear pattern of redundant elements. Elements need not
be perfectly identical, however, to be grouped in a repetitive fashion.

56
PRINCIPLE: REPETITION
SIZE

SHAPE

DETAIL CHARACTERISTICS

57
 PRINCIPLE: REPETITION

JAMI MASJID, GULBARGA, INDIA, 1367 58

 PRINCIPLE: REPETITION

TYPICAL FLOOR PLAN, UNITÉ D’HABITATION, MARSEILLES, 1946–52, LE CORBUSIER 59

 PRINCIPLE: REPETITION

RAJARAJESHWARA TEMPLE, THANJAVUR, INDIA, LATE 10TH CENTURY 60

 PRINCIPLE: REPETITION

JAIN TEMPLES AT MT. ABU, INDIA, 11TH–16TH CENTURIES 61

 PRINCIPLE: REPETITION

VICTORIAN FACADES FRONTING A SAN FRANCISCO STREET 62

 PRINCIPLE: REPETITION

JEAN-MARIE TJIBAOU CULTURAL CENTER, AR. RENZO PIANO 63

PRINCIPLE: DATUM
A line, plane, or volume that, by its continuity and
regularity, serves to gather, measure, and organize a
pattern of forms and spaces.

A datum refers to a line, plane, or volume of reference to

which other elements in a composition can relate. It
organizes a random pattern of elements through its
regularity, continuity, and constant presence.

64
PRINCIPLE: DATUM
LINE

PLANE

VOLUME

65
 PRINCIPLE: DATUM

ARCADES UNIFY THE FACADES OF HOUSES PRAGUE, CZECHOSLOVAKIA. 66

 PRINCIPLE: DATUM

PIAZZA SAN MARCO, VENICE 67

 PRINCIPLE: DATUM

CENTRE LE CORBUSIER, ZURICH, 1963–67, LE CORBUSIER 68

PRINCIPLE: UNITY
Unity Means Oneness And Indicates Harmony
Among The Different Building Elements. It
Imparts Coherence Of The Parts And Integrity
Of The Whole.

A dominating mass placed at central or at a

convenient place to makes it a point of
importance and destroy the duality or
competition.

UNITY PALACE, AR. OLIVIER-CLÉMENT CACOUB

69
PRINCIPLE: HARMONY
The pleasing arrangement of parts or combination of parts in a
composition. (belonging of one thing to other)

Harmony can be achieved:

• Harmony between building and site
• Harmony between a building and surrounding structures
• Harmony between different part of the same building

FALLING WATER, AR. FRANK LLOYD WRIGHT

Harmony between building and site

70
PRINCIPLE: HARMONY
Harmony involves the selection/design of elements that
share a common trait, however, Harmony becomes
monotony without Variety.
The repetition of design element like colour texture ,
shape and form is one of the easiest way to achieve
Harmony.

PARTHENON, GREECE

71
PRINCIPLE: DOMINANCE / EMPHASIS
Dominance means emphasis certain part of the building or highlight certain parts in the building.
This creates visual interest and focus in the composition.

Dominance can be achieved,

By contrast
By Massing
By ornamentation
By colour
By positioning

72
PRINCIPLE: DOMINANCE / EMPHASIS

THE UNITED STATE CAPITAL WASHINGTON 73

PRINCIPLE: DOMINANCE / EMPHASIS

RASHTRAPATHI BHAVAN, DELHI 74

 PRINCIPLE: DOMINANCE / EMPHASIS

VANKE PAVILION - MILAN EXPO 2015, AR. DANIEL LIBESKIND 75

ASSIGNMENT: PRINCIPLES OF ARCHITECTURE
BRIEF:
To make visual compositions using any five principles of
architecture:
Symmetry, Asymmetry, Rhythm, Hierarchy, Emphasis,
Harmony, Unity, Balance, Movement, Scale and
Proportion.
EXERCISE OUTCOME:
This exercise aims to make the student understand the
principles of architecture.

76
REF: ARCHITECTURE FORM, SPACE & ORDER
4th edition by Francis D.K. Ching, Copyright © 2015 by John Wiley & Sons.

Copyright Disclaimer under section 107 of the Copyright Act of 1976, allowance is made for “fair use” for purposes such
as criticism, comment, news reporting, teaching, scholarship, education & research. Fair use is a use permitted by
copyright statute that might otherwise be infringing.

As per R.A. 8293, also known as the “Intellectual Property Code of the Philippines”, Sec. 185. Fair use of Copyright Work
states that:

The Fair use of a Copyright work for Criticism, Comment, News Reporting, Teaching including multiple copies for
classroom use, scholarship, research, and Similar purposes is not an Infringement of Copyright. Decomplication, which is
understood here to be the reproduction of the code and translation of the computer program to achieve the inter-
operability of an independently created computer program with other programs may also constitute fair use. In
determining whether the use made of a work in any case is fair use, the factors to be considered shall include:

 The purpose and character of the use, including whether such use is of a commercial nature or is for non-profit
education purposes;
 The nature of the Copyrighted work;
 The amount and substantiality of the portion used in relation the copyrighted work as a whole;
 The effect of the use upon the potential market for or value of the copyrighted work.
 ADDITIONAL REMARK: Some of the information and tips mentioned in the lecture & on Discussion proper is based on
Author’s personal experience in the field of the profession to, some may vary on Actual Practice depending to
Personal Preference / suggestion of other Architect
THEORY OF ARCHITECTURE AR THEO 113
AY 2020-2021
First Semester

1
UNIT 06: PLAN COMPOSITION

2
PLAN COMPOSITION
SCHEME
Good planning is not the placing of areas
together in an aimless way. A logical plan
must have a reagon behind it — "a parti”,
or scheme. If an exterior which tends
toward symmetry, or monumentaliw, is
desired, the plan elements may”be
arranged in a balanced manner about a
central axis

3
PLAN COMPOSITION
SCHEME
If a more informal massing is required, the beginning of
the development —the plan —should assume this
desired character. A plan may be simple or complex,
depending upon the use to whiCh the building ia to be
put and upon the number of units or rooms required,
Regardless of the complexity which plans may assume.
They may all be reduced to the simple geometrical
shapes which form the basis for all architecture. Plans
and also elevations consist of areas which are recognized
as the square, circle, rectangle, etc. selected for their
suitability to tha function of the building.

4
AXIAL ARRANGEMENTS
With the exception of the most elementary forms, ptans have
direction. This direction is related to the shape and to the relative
importance of the sides which bound the plan. This development of
direction leads to the establishment of axis or §nes about which the
com- position is organized.
As one approaches a building and faces the principal facade, the
major axis usually carries through the centre Of the mass in a line
directly away from the observer and at right angles to the main
elevation.

5
AXIAL ARRANGEMENTS
The principal minor axis usually extends at right angles to the major axis through the
center of the important element which tends to parallel the main elevation. In a
complex plan the various parts may be grouped around minor axis which show the
direction of these units.
The single rectangle has its long sides perpendicular to the line of sight of the observed
(since in a represented plan the principal entrance side parallel to the street usually
focus the bottom of the sheet.

6
PRINCIPLES
A plan, to be worthy of the name, must be "organic". All
parts must fit together in such a way that the composition
will be disturbed if one element is moved. The axial
arrangement of the plan should connect to various units so
that one feels the complete organization of all the
component parts. A plan is developed whiCh will take care of
the practical requirements of the building.
A plan should have contrast of size, shape, character,
direction, balance and "emphasis".

7
EMPHASIS
It is often desirable to direct a structure which will house a
Single important object or to have on0 unit of the plan give
emphasis to one particular phase of the activity which is to
be carried on within. It is necessary that the architecture
frame and accent this important object or activity in this
illustration. This condition is secured by the use of the
semicircular element with inches which impart a decorative
rhythm and point to the monument in the Centre of the
com- position, This arrangement also illustrates the principle
of radiation from a single point. The center of interest, the
focal point—which contributes much to the quality of
emphasis. The variety secured by the change of direction
from the curved element to the straight line which forms the
axis, for the buildings on either side adds to the appeal of
the design.

8
EMPHASIS

9
SECONDARY PRINCIPLES
Repetition
may be present when a number of room of equal size and
shape occur side by side, or when windows, columns, or
arches are spacad in a rggular manner to give unac- cented
rhythm.

10
Repetition

11
SECONDARY PRINCIPLES
Alternation
a sYnonym for contrast. There may be ahemating
sizes of raCtangular ele- ments or alternation of
shapes.

alternation of shape

12
SECONDARY PRINCIPLES
Transition
a satisfactory progression from one unit
to another. Small vestibules protect and
act as buffers for the lobbies which
follow, and the lobbies allow the visitor
to become adjusted to vestibule at on
which confronts him upon entering the
building. These minor elements also give
the observer some preparatory
indication of the general character and
use of the interior before introducing
him to the more important units. veyti bulu

13
SECONDARY PRINCIPLES
Transformation
principle of transformation allows a designer to
select a protorypical architectural model whose
formal structure and ordering of elements eht f›e
appropri- ate and reasonable, and tn transform it
through a series of discrete manipulations to
respond to the specific conditions and context of
the design task a‹ hand. Transformation requires
first that the ordering system of the prior or
prototypal model be perceived and un- derstood so
that, through a series of finite changes and
permutations, the original design concept can be
classi- fied, strengthened and built upon rather than
des- troyed.

14
UNIT 06:
VISUAL ACUITY & PERCEPTION

15
VISUAL ACUIT Y AND PERCEPTION
Perception is the process by which we organize and
interpret the patterns of stimuli in our
environment, the immediate intuitive recognition, as of an
aesthetic quality.

The separation of two lines plaeed end to end can be

perceived more readily than the separa- tion of 2 lines
placed side by side.

Acuity increases with increase

in intensity of illumination.

16
 STEREOSCOPIC is applied to his ability to overlap these views,
SPATIAL PERCEPTION which are slightly different, into one image, This visual process created
an illusion of three-dimensional depth, making it possible to judge
distances.
All spatial implications are mentally
conditioned by the environmental and
experience of the viewer. Vision is
experienced through the eyes, but
interpreted with the mind.

Perception involves the whole pattern of

nerve and brain response as well as the visual
’stimulus‘. Man uses two eyes for the
perception of objects in nature and
continually shifts his focus of attention. tn so
doing. two different types of vision are used
STEREOSCOPIC and KINESTHETIC.

17
THE PERCEPTION OF OBJECTS & SHAPES
THE PERCEPTION OF OBJECTS:
Objects can be perceived not only visually but by the sound of familiar voices, people can be recognized. In
identifying objects, they may be touched and weighed in the hand. If they are food objects, they may be
smelt and tasted. Thus the observer may continue examining the object and placing together the various
sensory impressions until he has made ug his mind what it is.
Our behaviour through experiences has become habitual, automatic and effective. An ex- ample is wi en we
walk leisurely, or run hurriedly when a vehicle is approaching. We also have an internal sense of position, by
reacting automatically, shifting the body to one side when riding a bicycle. We perceive visually whether the
bicYcle is upright in relation to the road.

THE PERCEPTION OF SHAPE

The most important feature of a shape or object is its general outline or contour. Whenever we look at
objects. they seem to be clearly outlined and demarcated from their background. With a solid object the
particular contour exhibited to us at any one moment varies with its position in space. The visual shape of a
square —topped table is squ8re only when we look at it from above.

18
TYPES OF PERCEPTION
WE are required to perceive objects in different manners as compared to their position in the environment.
Objects maybe moving or stationary when we have to perceive motion. We may have to locate sounds and
voices in the space around us. We are also suppose to perceive, form figure, depth, and distance of object.

FORM PERCEPTION
SIZE PERCEPTION/ PERCEPTION CONSTANCY
MOTION PERCEPTION
DEPTH PERCEPTION
TIME PERCEPTION

19
THE PERCEPTION OF OBJECTS & SHAPES
Reversible Figure If a drawing is presented wherein two parts are equally
meaningful, there may be an alternation of “figure” and “ground” between
them.

20
THE PERCEPTION OF OBJECTS & SHAPES

Artistic use of Reversible

21
IMPOSSIBLE FIGURES
When three dimensional forms are
illustrated on two-dimensional surface.
When you cover the three prongs at
the left with your palms it will show a
U-shaped figure at the right. However if
you cover the U-shaped Figure at the
right, it will appear as three prongs.

22
IMPOSSIBLE
FIGURES

23
PSYCHOLOGICAL FACTORS AFFECTING
ACCURACY OF SHAPE PERCEPTION
The simpler the actual shape which is viewed like squares, triangles, circles, the more likely it is to be
perceived accurately, even though in a very short period of time.
There is a tendency of an observer to perceive for example a square when actually it is a rec- tangle
meaning a square and say it is circle although it is an ellipse.
This tendency to perceive shapes not exactly as they are but in somewhat modified form, is given great
importance by a German School of psychologists, known as the GESTALT psychologist. The world means
"FORM". According to them our percepts a)ways possess some kind of form or arrangement, and we tend
to group together shapes close to each other.

24
VISUAL OR OPTICAL ILLUSIONS
VISUAL
ILLUSIONS
make their effect because
the observer’s perception
is influenced by the
inclusion of their parts in
the whole pattern.

When two homogenous, differently coloured fields are

shown with one considerably larger than the other and
enclosed it, then there is greater probability that the small
enclosed field will be perceived as the figure.

25
PERCEPTION OF SPACE
DEPTH AND DISTANCE
An important feature of our perception of depth and solidity of objects is constituted by the shadows
which are Casts upon parts of them by the general illumination. Normally, shadows appear on the
receding parts of objects and indicates recession and hence solidity. Changes in the appearance of depth
can be produced by altering the direction of the incident light. Parts of a surface in relief may be made to
appear as if they protruded by directing light on to it from below instead if from above as normal.

28
 Despite the fact that the observer ’sees’ and ’knows’ in reality and feels with
VISUAL DEPTH his feet that the floor is composed of plane mosaic stones, it is impossible to
avoid a perception of depth.

29
 An example is the ceiling treatment of San Agustin Church
ILLUSIONS DEPTH in lntramuros which look like a hollered ceiling in the
architectural sense of the word, but a representation of
the Italian coffered ceiling of the renaissance period in the
form of intricate painting on Tin. |n other words such as
entrances and hallways. The color gives that It is an illusion

30
MONOCULAR CUES TO DEPTH
SUPERPOSITION If one object appears to cut off the view of
another, we usually perceive the first object as nearer
LINEAR PERSPECTIVE and RELATIVE SIZE if there is an array of
like objects of different sizes, the smaller ones are perceived
as being farther away.
HIEGHT IN FIELD As we look along a flat plane, objects farther
away appear to be higher, so that we can create the
impression of depth for objects of the same size by placing
them at different heights.
TEXTURE For irregular surfaces such as rocks Or waving
surface of the ocean, there is a gradient of texture with
distance so that the 'grain’ becomes finer as distance
becomes greater.

31
REF: ARCHITECTURE FORM, SPACE & ORDER
4th edition by Francis D.K. Ching, Copyright © 2015 by John Wiley & Sons.

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