Theory Of Architecture 3

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PRIMARY ELEMENTS OF DESIGN

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EACH ELEMENTS IS FIRST CONSIDERED AS A CONCEPTUAL ELEMENT, THEN AS A VISUAL ELEMENT IN THE VOCABULARY OF ARCHITECTURE DESIGN.

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1D

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POINT AND LINE

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2D

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PLANE

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3D

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VOLUME

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POINT

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IT MARKS A POSITION IN SPACE. CONCEPTUALLY, IT HAS NO LENGTH, WIDTH, OR DEPTH AND IS THEREFORE STATIC, CENTRALIZED, AND DIRECTIONLESS.

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POINT

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AS THE PRIME ELEMENT IN THE VOCABULARY OF FORM, IT CAN SERVE TO MARK THE 2 ENDS OF A LINE, THE INTERSECTION OF 2 LINES, THE MEETING OF THE LINES AT THE CORNER OF A PLANE OR VOLUME, THE CENTER OF A FIELD.

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POINT ELEMENTS

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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 A PLAN AS A POINT AND THEREFORE RETAINS THE VISUAL CHARACTERISTICS OF A POINT.

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TWO POINTS

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DESCRIBE A LINE THAT CONNECTS THEM, IT FURTHER SUGGEST AN AXIS PERPENDICULAR TO THE LINE THEY DESCRIBE AND ABOUT WHICH THEY ARE SYMMETRICAL.

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LINE

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AN EXTENDED POINT CONCEPTUALLY, IT HAS LENGTH, BUT NO WIDTH OR DEPTH. IT IS CAPABLE OF VISUALLY EXPRESSING DIRECTION, MOVEMENT AND GROWTH.

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LINE

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CAN SERVE TO JOIN, SUPPORT, SURROUND OR INTERACT TO OTHER VISUAL ELEMENTS. CAN SERVE TO DESCRIBE THE EDGES OF AND GIVE SHAPE TO PLANES. CAN SERVE TO ARTICULATE THE SURFACES OF PLANES.

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LINEAR ELEMENTS

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VERTICAL LINEAR ELEMENTS SUCH AS COLUMNS, OBELISK AND TOWERS, HAVE BEEN USED THROUGHOUT HISTORY TO COMMEMORATE SIGNIFICANT EVENTS AND ESTABLISH PARTICULAR POINTS IN SPACE.

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LINEAR ELEMENTS

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EXPRESS MOVEMENT ACROSS SPACE, PROVIDE SUPPORT FOR AN OVERHEAD PLANE, FORM A 3 - DIMENSIONAL STRUCTURAL FRAME FOR ARCHITECTURAL SPACE.

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PLANE

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AN EXTENDED LINE IN A DIRECTION OTHER THAN ITS INTRINSIC DIRECTION. CONCEPTUALLY, IT HAS LENGTH AND WIDTH BUT NO DEPTH.

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SHAPE

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IS THE PRELIMENARY IDENTIFYING CHARACTERISTICS OF A PLANE. IT IS DETERMINED BY THE CONTOUR OF THE LINE FORMING THE EDGES OF A PLANE.

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THE SUPPLEMENTARY PROPERTIES OF A PLANE

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ITS SURFACE, COLOR, PATTERN AND TEXTURE.

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PLANAR ELEMENTS

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IN ARCHITECTURAL DESIGN, WE MANIPULATE 3 GENERIC TYPES OF PLANE.

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OVERHEAD PLANE

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WHICH CAN BE EITHER THE ROOF OR THE CEILING PLANE.

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WALL PLANE

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BECAUSE OF ITS VERTICAL ORIENTATION, IS ACTIVE IN OUR NORMAL FIELD OF VISION AND VITAL TO THE SHAPING AND ENCLOSURE OF ARCHITECTURAL SPACE.

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BASE PLANE

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WHICH CAN BE EITHER THE GROUND OR FLOOR PLANE.

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VOLUME

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A PLANE EXTENDED IN A DIRECTION OTHER THAN ITS INTRINSIC DIRECTION CONCEPTUALLY, IT HAS 3 DIMENSIONS. LENGTH, WIDTH AND DEPTH.

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FORM

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THE PRIMARY IDENTIFYING CHARACTERISTICS OF A VOLUME IT IS ESTABLISHED BY SHAPE AND INTER - RELATIONSHIPS OF THE PLANES THAT DESCRIBE THE BOUNDARIES OF THE VOLUME.

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VOLUMETRIC ELEMENTS

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BUILDING FORMS THAT STAND AS OBJECTS IN THAT CAN BE READ AS OCCUPYING VOLUMES IN SPACE.

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FORM

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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.

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ARTICULATION

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A METHOD OR MANNER OF JOINTING THAT MAKES THE UNITED PARTS CLEAR, DISTINCT, AND PRECISE IN RELATION TO EACH OTHER.

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VISUAL PROPERTIES OF FORM

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SHAPE, SIZE, TEXTURE, COLOR.

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SHAPE

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THE CHARACTERISTIC OUTLINE OR SURFACE CONFIGURATION OF A PARTICULAR FORM.

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IN ARCHITECTURE WE ARE CONCERENED WITH THE SHAPES OF

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FLOOR, WALL AND CEILING PLANES THAT ENCLOSE SPACE.

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IN ARCHITECTURE WE ARE CONCERENED WITH THE SHAPES OF

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DOOR AND WINDOW OPENINGS WITH IN A SPATIAL ENCLOSURE.

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IN ARCHITECTURE WE ARE CONCERENED WITH THE SHAPES OF

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SILHOUETTES AND CONTOURS OF BUILDING FORMS.

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SIZE

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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.

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TEXTURE

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THE VISUAL AND ESPECIALLY TACTILE QUALITY GIVEN TO A SURFACE BY ITS SIZE, SHAPE, ARRANGEMENT, AND PROPORTIONS OF THE PARTS. IT ALSO DETERMINES THE DEGREE TO WHICH THE SURFACES OF A FORM REFLECT OR ABSORB INCIDENT LIGHT.

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COLOR

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A PHENOMENON OF LIGHT AND VISUAL PERCEPTION THAT MAY BE DESCRIBED IN TERMS OF AN INDIVIDUAL'S PERCEPTION OF HUE, SATURATION AND TONAL VALUE.

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COLOR

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IS THE ATTRIBUTE THAT MOST CLEARLY DISTINGUISHES A FORM IN ITS ENVIRONMENT. IT ALSO AFFECTS THE VISUAL WEIGHT OF A FORM.

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PARTS OF COLOR

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HUE, VALUE, TEMPERATURE, INTENSITY.

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HUE

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ANOTHER WORD FOR COLOR

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VALUE

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DESCRIBE HOW LIGHT OR DARK THE COLOR IS.

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TEMPERATURE

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RELATES TO THE FEELING OF WARMTH OR COOLNESS THE COLOUR EVOKES.

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INTENSITY

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MEASURES THE RANGE OF A COLOR FROM DULL TO VIVID, ALSO CALLED CHROMA AND SATURATION.

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COLOR WHEEL

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PRIMARY, SECONDARY, AND TERTIARY.

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PRIMARY

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RED, BLUE, YELLOW

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SECONDARY

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VIOLET, GREEN, AND ORANGE

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TERTIARY

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RED - VOILET, BLUE - VOILET, YELLOW - GREEN , BLUE GREEN, RED - ORANGE AND YELLOW ORANGE.

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WARM COLORS

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EXHIBIT ENERGY AND JOY. THEY HAVE A TENDENCY TO APPEAR LARGER.

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COOL COLORS

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CONVEY CALMNESS AND PEACE. THEY HAVE A TENDENCY TO APPEAR SMALLER NEXT TO A WARM COLOR. THEY OFTEN WORK WELL AS BACKGROUND COLOR.

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BASIC COLOR SCHEMES

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COMPLEMENTARY, ANALOGOUS, TRIADIC, SPLIT COMPLIMENTARY, TETRADIC OR DOUBLE COMPLEMENTARY.

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COMPLEMENTARY

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ANY 2 COLORS OPPOSITE EACH OTHER ON THE WHEEL. FOR EX : BLUE AND ORANGE, RED AND GREEN.

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SPLIT COMPLEMENTARY

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USE 3 COLORS. THE SCHEME TAKES 1 COLOR AND MATCHES IT WITH 2 COLORS ADJACENT TO THE COMPLEMENTARY COLOR. EX. BLUE, YELLOW - ORANGE AND RED - ORANGE.

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ANALOGOUS

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ANY 3 COLORS NEXT TO EACH OTHER ON THE WHEEL. FOR EX. ORANGE,YELLOW - ORANGE, AND YELLOW.

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TRIADIC

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ANY 3 COLORS THAT ARE EQUALLY A PART ON THE COLOR WHEEL. FOR EX. RED, YELLOW, AND BLUE.

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TETRADIC OR DOUBLE COMPLEMENTARY

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USES 4 COLORS TOGETHER IN THE FORM OF 2 SETS OF COMPLEMENTARY COLORS. FOR EX. BLUE AND ORANGE IS PAIRED WITH YELLOW AND VIOLET.

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TINTS

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COME FROM ADDING WHITE TO HUES.

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SHADES

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COME FROM ADDING BLACK TO HUES.

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TONES

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MIXING THE HUE WITH GREY.

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ACHROMATIC

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USE NO COLOR, JUST SHADES OF GREY, BLACK AND WHITE. ALSO KNOWN AS GREYSCALE.

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RELATIONAL PROPERTIES OF FORM

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POSITION, ORIENTATION AND VISUAL INERTIA

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POSITION

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THE LOCATION OF A FORM RELATIVE TO ITS ENVIRONMENT OR THE VISUAL FIELD WITH IN WHICH IT IS SEEN

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ORIENTATION

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THE DIRECTION OF A FORM RELATIVE TO THE GROUND PLANE, THE COMPASS POINTS, OTHER FORMS, OR TO THE PERSON VIEWING THE FORM.

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VISUAL INERTIA

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THE DEGREE OF CONCENTRATION AND STABILITY OF A FORM IT DEPENDS ON ITS GEOMETRY AS WELL AT ITS ORIENTATION RELATIVE TO THE GROUND PLANE, THE PULL OF GRAVITY, AND OUR LINE OF SIGHT.

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FORM ARTICULATION

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A FORM CAN BE ARTICULATED BY: CHANGE IN MATERIAL, COLOR, TEXTURE OR PATTERN; LIGHTING THE FORM; REMOVING CORNERS; DEVELOPING CORNERS AS DISTINCT LINEAR ELEMENTS.

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CIRCULATION

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THE PASSAGE OF PERSONS OR THINGS FROM 1 PLACE TO ANOTHER OR THROUGH AN AREA.

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CIRCULATION

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SINCE WE MOVE IN TIME THROUGH A SEQUENCE OF SPACES, WE EXPERIENCE A SPACE IN RELATION TO WHERE WE'VE BEEN 4 WHERE WE ANTICIPATE GOING.

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CIRCULATION ELEMENTS

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APPROACH, ENTRANCE, CONFIGURATION OF THE PATH, PATH - SPACE RELATIONSHIPS

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APPROACH

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THE DISTANT VIEW. PRIOR TO ACTUALLY PASSING INTO THE INTERIOR OF A BUILDING. WE APPROACH ITS ENTRANCE ALONG A PATH. THIS IS THE FIRST PHASE OF THE CIRCULATION SYSTEM, DURING WHICH WE ARE PREPARED TO SEE, EXPERIENCE USE THE SPACES WITH IN A BUILDING.

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KINDS OF APPROACH

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FRONTAL, OBLIQUE, SPIRAL

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FRONTAL APPROACH

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LEADS DIRECTLY TO THE ENTRANCE OF A BUILDING ALONG A STRAIGHT, AXIAL PATH. THE VISUAL GOAL THAT TERMINATES THE APPROACH IS CLEAR.

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OBLIQUE APPROACH

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ENHANCES THE EFFECT OF PERSPECTIVE ON THE FRONT FACADE AND FORM OF A BUILDING.

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SPIRAL APPROACH

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PROLONGS THE SEQUENCE OF THE APPROACH AND EMPHASIZES THE 3 - DIMENSIONAL FORM OF A BUILDING AS WE MOVE AROUND ITS PEREMITER.

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ENTRANCE

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FROM OUTSIDE TO INSIDE. ENTERING A BUILDING, A ROOM WITH IN A BUILDING OR A DEFINED FIELD OR EXTERIOR SPACE, INVOLVES THE ACT OF PENETRATING A VERTICAL PLANE THAT DISTINGUISHES ONE SPACE FROM ANOTHER AND SEPERATES "HERE" FROM "THERE".

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KINDS OF ENTRANCE

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FLUSH, PROTECTED, AND RECESSED

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FLUSH

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MAINTAINTS THE CONTINUITY OF THE SURFACE OF A WALL AND CAN BE DERIBERATELY OBSCURED.

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PROJECTED

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FORMS A TRANSITIONAL SPACE, ANNOUNCES ITS FUNCTION TO THE APPROACH AND PROVIDES OVERHEAD SHELTER.

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RECESSED

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ALSO PROVIDES SHELTER AND RECIEVES A PORTION OF EXTERIOR SPACE INTO THE REALM OF THE BUILDING.

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CONFIGURATION OF PATH

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THE SEQUENCE OF SPACES. ALL PATHS OF MOVEMENTS ARE LINEAR IN NATURE AND ALL PATHS HAVE A STARTING POINT, FROM WHICH WE ARE TAKEN THROUGH A SEQUENCE OF SPACES TO OUR DESTINATION.

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KINDS OF CONFIGURATION OF PATH

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LINEAR, RADIAL, SPIRAL, GRID, NETWORK, AND COMPOSITE

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LINEAR

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A STRAIGHT PATH, HOWEVER, CAN BE THE PRIMARY ORGANIZING ELEMENT FOR A SERIES OF SPACES.

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RADIAL

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HAS LINEAR PATHS EXTENDING FROM AND TERMINATING AT A CENTRAL, COMMON POINT.

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SPIRAL

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IS A SINGLE CONTINUOUS PATH THAT ORIGINATES FROM A CENTRAL POINT, REVOLVES AROUND IT AND BECOMES INCREASINGLY DISTANT FROM IT.

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GRID

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CONSISTS OF 2 SETS OF PARALLEL PATHS THAT INTERSECT AT A REGULAR INTERVALS AND CREATE SQUARE OR RECTANGULAR FIELDS IN SPACE.

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NETWORK

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CONSISTS OF PATHS THAT CONNECT ESTABLISHED POINTS IN SPACE.

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COMPOSITE

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EMPLOYING A COMBINATION OF THE PRECEEDING PATTERNS.

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PATH - SPACE RELATIONSHIPS

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EDGES, NODES, AND TERMINATION OF THE PATH. PATH MAYBE RELATED TO THE SPACES THEY LINK IN THE FOLLOWING WAYS.

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PATH - SPACE RELATIONSHIPS LINKS

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PASS BY SPACES, PASS THROUGH SPACES, AND TERMINATES IN A SPACE