Theory Of Architecture 4

Front 1

FORM OF THE CIRCULATION SPACE

Back 1

CORRIDORS, HALLS, GALLERIES, STAIRWAYS AND ROOMS.

Front 2

THE FORM OF A CIRCULATION SPACE VARIES ACCORDING TO HOW :

Back 2

● ITS BOUNDARIES ARE DEFINED;

● ITS FORM RELATES TO THE FORM OF THE SPACES IT LINKS;

● ITS QUALITIES OF SCALE, PROPORTION, LIGHT, AND VIEW ARE ARTICULATED;

● ENTRANCES OPEN ONTO IT;

● IT HANDLES CHANGES IN LEVEL WITH STAIRS AND RAMPS.

Front 3

KINDS OF CIRCULATION SPACE

Back 3

● ENCLOSED.

● OPEN ON ONE SIDE.

● OPEN ON BOTH SIDES.

Front 4

ENCLOSED

Back 4

FORMING A PUBLIC GALLERIA OR PRIVATE CORRIDOR THAT RELATES TO THE SPACES IT LINKS THROUGH ENTRANCES IN A WALL PLANE.

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OPEN ON ONE SIDE

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FORMING A BALCONY OR GALLERY THAT PROVIDES VISUAL AND SPATIAL CONTINUITY WITH THE SPACES IT LINKS.

Front 6

OPEN ON BOTH SIDES

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FORMING A COLONNADED PASSAGEWAY THAT BECOMES A PHYSICAL EXTENSION OF THE SPACE IT PASSES THROUGH.

Front 7

DESIGN

Back 7

IS THE CREATION AND ORGANIZATION OF FORMAL ELEMENTS IN A WORK OF ART.

Front 8

DESIGN PRINCIPLE

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IS A FUNDAMENTAL AND COMPREHENSIVE CONCEPT OF VISUAL PERCEPTION FOR STRUCTURING AND AESTHETIC COMPOSITION.

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PRINCIPLES OF DESIGN

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● PROPORTION AND SCALE.

● CONTRAST.

● BALANCE.

● HIERARCHY.

● RHYTHM.

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PROPORTION

Back 10

THE PROPER HARMONIOUS RELATION OF ONE PART TO ANOTHER OR TO THE WHOLE.

Front 11

PROPORTIONING SYSTEMS

Back 11

THEY CAN VISUALLY UNIFY THE MULTIPLICITY OF ELEMENTS IN AN ARCHITECTURAL DESIGN BY HAVING ALL OF ITS PARTS BELONG TO THE SAME FAMILY OF PROPORTIONS.

Front 12

PROPORTIONING SYSTEMS

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THEY CAN PROVIDE A SENSE OF ORDER IN, AND HEIGHTEN THE CONTINUITY OF, A SEQUENCE OF SPACES.

Front 13

PROPORTIONING SYSTEMS

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THEY CAN ESTABLISH RELATIONSHIPS BETWEEN THE EXTERIOR AND INTERIOR ELEMENTS OF A BUILDING.

Front 14

KINDS OF PROPORTIONING SYSTEMS

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● GOLDEN SECTION.

● REGULATING LINES.

● CLASSICAL ORDERS.

● RENAISSANCE THEORIES.

● MODULOR.

● KEN.

● ANTHROPOMETRY.

Front 15

GOLDEN SECTION

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IT CAN BE DEFINED AS THE RATIO BETWEEN 2 SECTIONS OF A LINE, OR THE 2 DIMENSIONS OR A PLANE FIGURE, IN WHICH THE LESSER OF THE 2 IS TO THE GREATER AS THE GREATER IS TO THE SUM OF BOTH.

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REGULATING LINES

Back 16

IF THE DIAGONALS OF 2 RECTANGLES ARE EITHER PARALLEL OR PERPENDICULAR TO EACH OTHER, THEY INDICATE THAT THE 2 RECTANGLES HAVE SIMILAR PROPORTIONS. THESE DIAGONALS, AS WELL AS LINES THAT INDICATE THE COMMON ALIGNMENT OF ELEMENTS, ARE CALLED.

Front 17

CLASSICAL ORDERS

Back 17

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.

Front 18

CLASSICAL ORDERS

Back 18

ACCORDING TO VIGNOLA: TUSCAN

Front 19

CLASSICAL ORDERS

Back 19

ACCORDING TO VIGNOLA : DORIC

Front 20

CLASSICAL ORDERS

Back 20

ACCORDING TO VIGNOLA : IONIC

Front 21

CLASSICAL ORDERS

Back 21

ACCORDING TO VIGNOLA : CORINTHIAN

Front 22

CLASSICAL ORDERS

Back 22

CLASSIFICATION OF TEMPLES ACCORDING TO THEIR INTERCOLUMNIATION.

VIRTRUVIUS RULES FOR THE DIAMETER, HEIGHT, AND SPACING OF COLUMNS.

Front 23

RENAISSANCE THEORIES

Back 23

THE ARCHITECTS OF THE RENAISSANCE, BELIEVING THAT THEIR BUILDINGS HAD TO BELONG TO A HIGHER ORDER, RETURNED TO THE GREEK MATHEMATICAL SYSTEM OF PROPORTIONS.

Front 24

MODULOR

Back 24

IS AN ANTHROPOMETRIC SCALE OF PROPORTIONS DEVISED BY THE SWISS-BORN FRENCH ARCHITECT LE CORBUSIER (1887–1965). IT WAS DEVELOPED AS A VISUAL BRIDGE BETWEEN TWO INCOMPATIBLE SCALES, THE IMPERIAL AND THE METRIC SYSTEM. IT IS BASED ON THE HEIGHT OF A MAN WITH HIS ARM RAISED.

Front 25

KEN

Back 25

THE TRADITIONAL JAPANESE UNIT OF MEASURE, THE SHAKU, WAS ORIGINALLY IMPORTED FROM CHINA. IT EVOLVED INTO AN AESTHETIC MODULE THAT ORDERED THE STRUCTURE, MATERIALS, AND SPACE OF JAPANESE ARCHITECTURE.

Hint 25

● KEN = 1.80 × 0.9 METERS

● 1 KEN = 6 SHAKU (JAPANESE FEET)

● TATAMI MAT ( 1.80 × 0.9 METERS )

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ANTHROPOMETRY

Back 26

THE SCIENTIFIC STUDY OF THE MEASUREMENTS AND PROPORTIONS OF THE HUMAN BODY.

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CONTRAST

Back 27

OPPOSITION OR JUXTAPOSITION OF DISSIMILAR ELEMENTS IN A WORK OF ART TO INTENSIFY EACH ELEMENTS PROPERTIES AND PRODUCE A MORE DYNAMIC EXPRESSIVENESS.

Front 28

CONTRAST

Back 28

IN FORM, GEOMETRY, OR ORIENTATION CAN ALSO VISUALLY REINFORCE THE IDENTITY AND INDEPENDENCE OF THE SUNKEN FIELD FROM ITS LARGER SPATIAL CONTENT.

Front 29

CONTRAST

Back 29

CREATE VISUAL VARIETY, EXCITEMENT AND INTEREST TO THE BUILDING AND CAN BE ACHIEVED BY:

● USING DIFFERENT SIZES.

● DIFFERENT MATERIAL, TEXTURE, AND COLORS.

● MANIPULATING THE LIGHT, SHADE, AND SHADOW OF MASSES.

Front 30

BALANCE

Back 30

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.

Front 31

SYMMETRY

Back 31

THE EXACT CORRESPONDENCE IN SIZE, FORM AND ARRANGEMENT OF PARTS ON OPPOSITE SIDES OF DIVIDING LINE OR PLANE, OR ABOUT A CENTER OR AXIS.

Front 32

TYPES OF SYMMETRY

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● BILATERAL.

● RADIAL.

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BILATERAL SYMMETRY

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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.

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RADIAL SYMMETRY

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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 CENTER AXIS.

Front 35

HIERARCHY

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THE ARTICULATION OF THE IMPORTANCE OR SIGNIFICANCE OF A FORM AND SPACE BY ITS SIZE, SHAPE, OR PLACEMENT RELATING TO THE OTHER FORMS AND SPACES OF THE ORGANIZATION.

Front 36

VISUAL EMPHASIS

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IT CAN BE ACHIEVED BY ENDOWING A FORM OR SHAPES :

● EXCEPTIONAL SIZE.

● UNIQUE SHAPE.

● STRATEGIC LOCATION.

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BY SIZE

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A FORM OR PLACE MAY DOMINATE AN ARCHITECTURAL COMPOSITION BY BEING SIGNIFICANTLY DIFFERENT IN SIZE FROM ALL OTHER ELEMENTS IN THE COMPOSITION.

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BY SHAPE

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A FORM OR SPACE CAN BE MADE VISUALLY DOMINANT AND THUS IMPORTANT BY CLEARLY DIFFERENTIATING ITS SHAPE FROM THAT OF THE OTHER ELEMENTS IN THE COMPOSITION.

Front 39

BY PLACEMENT

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A FORM OR SPACE MAY BE STRATEGICALLY PLACED TO CALL ATTENTION TO ITSELF AS BEING THE MOST IMPORTANT ELEMENT IN THE COMPOSITION.

Front 40

RHYTHM

Back 40

MOVEMENT CHARACTERIZED BY A PATTERNED REPETITION OR ALTERNATION OF FORMAL ELEMENTS OR MOTIFS IN THE SAME OR MODIFIED FORM.

Front 41

REPETITION

Back 41

THE ACT OR PROCESS OF REPEATING FORMAL ELEMENTS OR MOTIFS IN THE DESIGN.

Front 42

REPETITION

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THE SIMPLIEST FORM OF REPETITION IS A LINEAR PATTERN OF REDUNDANT ELEMENTS. THEY MAY BE GROUPED ACCORDING TO :

● SIZE.

● SHAPE.

● DETAIL CHARACTERISTICS.

Front 43

FENG SHUI

Back 43

ARE TOOLS IN THEIR OWN RIGHT. THEY HAVE ADJUSTABLE SURFACES AND CLAMPS, STANDARD SQUARE EDGES FOR MEASURING AND MANY OTHER ATTRIBUTES. THEY HAVE MULTIPLE APPLICATIONS, FROM PROVIDING SOMEWHERE TO SAW YOUR TIMBER TO A PLACE TO REST YOUR MUG OF.

Front 44

FIRE

Back 44

IS VERY MUCH A MOVING AGENT.

Front 45

WATER

Back 45

IS ANYTHING THAT FLOWS, WHICH HAS A MYSTICAL AFFINITY.

Front 46

WOOD

Back 46

IS ALL GROWING VEGETATIVE LIFE, NOT JUST DEAD TIMBER BUT ALSO SPROUTING GRASS SEED.

Front 47

EARTH

Back 47

IS THE SOIL FROM WHICH ALL VEGETATIVE LIFE SPRING.

Front 48

METAL

Back 48

ALSO MAN - MADE OBJECTS.

Front 49

PRODUCTION CYCLE

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● WATER NOURISHES WOOD.

● WOOD FEEDS FIRE.

● FIRE GENERATES EARTH.

● EARTH FORMS METAL.

● METAL CREATES WATER.

Front 50

DESTRUCTION CYCLE

Back 50

● FIRE CONSUMES WOOD.

● WOOD DRINKS WATER.

● WATER DEPLETES METAL.

● METAL CONSUMES EARTH.

● EARTH TAMPS DOWN FIRE.

Front 51

8 TRIGRAMS OR PA KUA

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ARRANGED IN THE SO - CALLED EARLIER HEAVEN SEQUENCE. THIS IS USED TO CHARACTERIZED THE TYPE OF ENERGY FOUND IN THE CORRESPONDING 8 PARTS OF A BUILDING.

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NORTH

Back 52

● SYMBOL : CAREER.

● ELEMENT : WATER.

● COLOR : BLACK, DARK BLUE.

● FAMILY MEMBER : MIDDLE SON.

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NORTH WEST

Back 53

● SYMBOL : HELPFUL PEOPLE, TRAVEL.

● ELEMENT : BIG METAL.

● COLOR : WHITE, GREY, BLACK.

● FAMILY MEMBER : FATHER.

Front 54

WEST

Back 54

● SYMBOL : CREATIVITY, CHILDREN.

● ELEMENT : SMALL METAL.

● COLOR : WHITE.

● FAMILY MEMBER : YOUNGEST DAUGHTER.

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SOUTH WEST

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● SYMBOL : MARRIAGE.

● ELEMENT : BIG EARTH.

● COLOR : RED, PINK, WHITE.

● FAMILY MEMBER : MOTHER.

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SOUTH

Back 56

● SYMBOL : FAME.

● ELEMENT : FIRE.

● COLOR : RED.

● FAMILY MEMBER : MIDDLE DAUGHTER.

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SOUTH EAST

Back 57

● SYMBOL : WEALTH.

● ELEMENT : SMALL WOOD.

● COLOR : BLUE, PURPLE, RED.

● FAMILY MEMBER : ELDEST DAUGHTER.

Front 58

EAST

Back 58

● SYMBOL : FAMILY.

● ELEMENT : BIG WOOD.

● COLOR : GREEN.

● FAMILY MEMBER : ELDEST SON.

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NORTH EAST

Back 59

● SYMBOL : KNOWLEDGE, SELF-CULTIVATION.

● ELEMENT : SMALL EARTH.

● COLOR : BLACK, BLUE, GREEN.

● FAMILY MEMBER : YOUNGEST SON.

Front 60

FIRE

Back 60

● COLOR : RED.

● COLOR OF PRODUCING ELEMENT : GREEN.

● SHAPE : TRIANGULAR, POINTED, AND SHARP.

● REPRESENTED BY : CANDLES, ELECTRIC LIGHT.

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EARTH

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● COLOR : YELLOW.

● COLOR OF PRODUCING ELEMENT : RED.

● SHAPE : SQUARE, LOW.

● REPRESENTED BY : ROCK, CRYSTALS.

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WOOD

Back 62

● COLOR : GREEN.

● COLOR OF PRODUCING ELEMENT : BLACK OR DARK BLUE.

● SHAPE : UPRIGHT TRIANGLES.

● REPRESENTED BY : GROWING INDOOR PLANTS.

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METAL

Back 63

● COLOR : METALLIC.

● COLOR OF PRODUCING ELEMENT : SILVER OR GOLD YELLOW.

● SHAPE : DOMES, ARCHES, CIRCLES, SPHERES.

● REPRESENTED BY : METAL WIND CHIMES OR ANY METALLIC OR ELECTRONIC DEVICE.

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WATER

Back 64

● COLOR : BLACK OR DARK BLUE.

● COLOR OF PRODUCING ELEMENT : METALLIC OR SILVER GOLD.

● SHAPE : FLOWING, WAVY, OR FREEHAND SHAPES.

● REPRESENTED BY : AQUARIUM, INDOOR FOUNTAIN.

Front 65

EVALUATION OF BUILDINGS USING FENG SHUI :

Back 65

● BALANCE.

● STABILITY.

● FLUIDITY OF FORM.