TOA - MIDTERM EXAM REVIEWER

Download as pdf or txt
Download as pdf or txt
You are on page 1of 7

MIDTERMS: THEORY OF ARCHITECTURE 1 REVIEWER

PRINCIPLES OF DESIGN  Contrast create visual variety,


excitement and interest to the
DESIGN
building and can be achieved by:
 is the creation and organization of  using different sizes;
formal elements in a work of art.  different material, texture, and
colors; or
DESIGN PRINCIPLE  manipulating the light, shade,
 is a fundamental and and shadow of masses.
comprehensive concept of visual 3. BALANCE
perception for structuring and
aesthetic composition.  A state of equilibrium between
contrasting, opposing, or
interacting elements. Also the
5 PRINCIPLES OF DESIGN pleasing or harmonious
arrangement or proportion of parts
1. PROPORTION or elements in a design or
composition.
 The proper harmonious relation
of one part to another or to the AXIS
whole.
 is a line established by two points in
SCALE space and about which forms and
spaces can be arranged in a regular
 The size of something compared to
or irregular manner.
a reference standard or to the size
of something else. 3 TYPES OF BALANCE

2 TYPES OF SCALE SYMMETRICAL BALANCE

VISUAL SCALE  monumental effect centralized


formal radial
 refers to how small or large
something appears to be in relation UNSYMMETRICAL BALANCE
to its normal size or to the size of
other things in its context.  informal

HUMAN SCALE GRAVITATIONAL BALANCE

 is based on the dimensions and  picturesqueness of surroundings.


proportions of the human body. 2 TYPES OF SYMMETRY

BILATERAL SYMMETRY
2. CONTRAST  Refers to the balanced arrangement
 Opposition or juxtaposition of of similar or equivalent elements on
dissimilar elements in a work of art opposite sides of a median axis so
to intensify each element’s that only one plane can divide the
properties and produce a more whole into essentially identical
dynamic expressiveness. halves.
MIDTERMS: THEORY OF ARCHITECTURE 1 REVIEWER

RADIAL SYMMETRY
4 TYPES OF RHYTHM
 The balanced arrangement of
1. SLOW AND FAST RHYTHM
similar, radiating elements such
2. COMPLICATING RHYTHM
that the composition can be divided
3. TERMINATING RHYTHM
into similar halves by passing a
4. ACCENTING RHYTHM
plane at any angle around a
center point or along a central
axis.
REPETITION
4. HIERARCHY
 The act or process of repeating
 The articulation of the importance formal elements or motifs in a
or significance of a form or space by design.
its size, shape, or placement  The simplest form of repetition is a
relative to the other forms and linear pattern of redundant
spaces of the organization. elements. They may be grouped
according to:
3 TYPES OF HIERARCHY
 size;
HIERARCHY BY SIZE  shape; or
 detail characteristics.
 A form or space may dominate an
architectural composition by being
significantly different in size from PROPORTIONING SYSTEMS
all the other elements in the
GOLDEN SECTION
composition.
 can be defined as the ratio between
HIERARCHY BY SHAPE
two sections of a line, or the two
 A form or space can be made dimensions of a plane figure, in
visually dominant and thus which the lesser of the two is to the
important by clearly greater as the greater is to the sum
differentiating its shape from of both.
that of the other elements in the  Ex. Parthenon and Tempietto, St.
composition Pietro

HIERARCHY BY PLACEMENT REGULATING LINES

 A form or space may be  If the diagonals of two rectangles


strategically placed to call are either parallel or perpendicular
attention to itself as being the most to each other, they indicate that the
important element in a composition. two rectangles have similar
proportions.
5. RHYTHM  EX. World Museum and Palazzo
 Movement characterized by a Farnese
patterned repetition or CLASSICAL ORDERS
alternation of formal elements or
motifs in the same or a modified  To the Greeks and Romans of
form. classical antiquity, the Orders
MIDTERMS: THEORY OF ARCHITECTURE 1 REVIEWER

represented in their proportioning


of elements the perfect expression
For other rooms, Palladio used Pythagoras’
of beauty and harmony. The basic
theory of means to determine their heights.
unit of dimension was the diameter
of the column.  Arithmetic: b= (a+c)/2
 Geometric: b= √(ac)
4 TYPES OF CLASSICAL ORDERS
 Harmonic: b= (2ac)/(a+c)
 TUSCAN
MODULOR
 DORIC
 CORINTHIAN  Le Corbusier developed this
 IONIC proportioning system to order "the
dimensions of that which contains
and that which is contained."
RENAISSANCE THEORIES  He based the Modulor on both
mathematics (the aesthetic
 The architects of the Renaissance,
dimensions of the Golden Section
believing that their buildings had to
and the Fibonacci Series) and the
belong to a higher order, returned
proportions of the human body
to the Greek mathematical system
(functional dimensions).
of proportions
 The basic grid consists of three
Andrea Palladio (1508–1580) measures, 113, 70, and 43
centimeters, proportioned
 The most influential architect of the according to the Golden Section.
Italian Renaissance. In The Four  Le Corbusier saw the Modulor as a
Books on Architecture, first system of measurements that could
published in Venice in 1570, he govern lengths, sur faces, and
followed in the footsteps of his volumes, and “maintain the
predecessors, Alberti and Serlio, human scale everywhere.”
and proposed these seven “most
beautiful and proportionable KEN
manners of rooms.”
 The ken was introduced in the
Determining the Heights of Rooms latter half of Japan’s Middle
Ages.
 The height of rooms with flat  Although it was originally used
ceilings would be equal to their simply to designate the interval
width. between two columns and
 The height of square rooms with varied in size, the ken was soon
vaulted ceilings would be one-third standardized for residential
greater than their width. architecture.
 For other rooms, Palladio used  The size of a room is designated
Pythagoras' theory of means to by the number of its floor mats.
determine their heights.  In a typical Japanese residence,
the ken grid orders the
structure as well as the additive,
space-to-space sequence of
rooms.
MIDTERMS: THEORY OF ARCHITECTURE 1 REVIEWER

 The relatively small size of the PRIMARY SHAPES


module allows the rectangular
1. CIRCLE
spaces to be freely arranged in
linear, staggered, or  It is a centralized, introverted
clustered patterns. figure normally stable and self-
centering in its environment.
ANTHROPOMETRY
2. SQUARE
 Anthropometry refers to the
measurement of the size and  represents the pure and the
proportions of the human body. rational.
 Average dimensions must always be  a bilaterally symmetrical figure
treated with caution since having two equal and perpendicular
variations from the norm will axes.
always exist due to the difference
between men and women, among 3. TRIANGLE
various age and racial groups, even  It signifies stability.
from one individual to the next.
 A special field that has developed PRIMARY SOLIDS
from a concern with human factors
1. SPHERE
is ergonomics—the applied
science that coordinates the design  A solid generated by the revolution
of devices, systems, and of a semicircle about its diameter,
environments with our physiological whose surface is at all points
and psychological capacities and equidistant from the center. A
requirements. sphere is a centralized and highly
concentrated form.

2. CYLINDER
FORM
 Revolution of rectangle about
 the point of contact between mass
one of its side.
and space.
3. CONE
PROPERTIES OF FORM
 Revolution of a right triangle
1. SHAPE
about one of its sides.
2. SIZE
 The cone is a highly stable form
3. TEXTURE
when resting on its circular base
4. COLOR
5. POSITION 4. PYRAMID
6. ORIENTATION
 polyhedron having a polygonal
7. VISUAL INERTIA
base and triangular faces
meeting at a common point or
vertex.
MIDTERMS: THEORY OF ARCHITECTURE 1 REVIEWER

5. CUBE FACE-TO-FACE CONTACT

 A prismatic solid bounded by six  Requires that two forms have


equal square sides, the angle corresponding planar surfaces
between any two adjacent faces which are parallel to each other.
being a right angle.
INTERLOCKING VOLUMES
REGULAR AND IRREGULAR FORMS
 The forms interpret each other’s
REGULAR IRREGULAR space.
STABLE MORE DYNAMIC
ORGANIZATION OF FORM
SYMMETRICAL ASYMMETRICAL
CENTRALIZED

TRANSFORMATION OF FORM  These forms share the self-


centering properties of the point
DIMENSIONAL TRANSFORMATION
and circle because of their inherent
 A form can be transformed by centrality.
altering one or more of its
LINEAR
dimensions and still retain its
identity as a member of a family of  A linear form can result from a
forms. proportional change in a form’s
dimensions or the arrangement of
SUBTRACTIVE TRANSFORMATION
a series of discrete forms along
 A form can be transformed by a line.
subtracting a portion of its volume
RADIAL
ADDITIVE TRANSFORMATION
 consists of linear forms that
 A form can be transformed by the extend outward from a centrally
addition of elements to its volume. located core element in a radiating
manner. It combines the aspects of
The basic possibilities for grouping centrality and linearity into a
two or more forms are by: single composition.

CLUSTERED
SPATIAL TENSION  A centralized organization has a
 Relies on close proximity of the strong geometric basis for the
forms or their sharing of a common ordering of its forms, a clustered
visual trait, such as shape, color, or organization groups its forms
material. according to functional
requirements of size, shape, or
EDGE-TO-EDGE CONTACT proximity.

 The forms share a common edge GRID


and can pivot about that edge.
 A grid is a system of two or more
intersecting sets of regularly spaced
parallel lines.
MIDTERMS: THEORY OF ARCHITECTURE 1 REVIEWER

1. The edge of the field is well-defined;


visual and spatial continuity is
SPACE
maintained;.
 is the three-dimensional field in 2. Visual continuity is maintained;
which objects and events occur and spatial continuity is interrupted;
have relative position and direction, 3. Visual and spatial continuity is
especially a portion of that field set interrupted;
apart in a given instance or for a
Depressed Base Plane
particular purpose.
 Depressed into the ground plane
HORIZONTAL ELEMENTS
utilizes the vertical surfaces of the
lowered area to define a volume of
space.
BASE PLANE

 A horizontal plane lying as a figure


on a contrasting background defines
a simple field of space.

This field can be visually reinforced in


the following ways:

ELEVATED BASE PLANE

 A horizontal plane elevated above


the ground plane establishes
vertical surfaces along its edges
that reinforce the visual 1. an interruption of the ground or
separation between its field and floor plane and remain in integral
the surrounding ground. part of the surrounding space.
2. its visual relationship weakens
with the surrounding space and
strengthen its definition as a
distinct volume of space.
3. the depressed field becomes a
separate and distinct room in
itself.

OVERHEAD PLANE

 A horizontal plane located overhead


defines a volume of space
between itself and the ground
plane.
 As in the case of the base plane, the
ceiling plane can be manipulated to
define and articulate zones of
space within a room.
MIDTERMS: THEORY OF ARCHITECTURE 1 REVIEWER

VERTICAL ELEMENTS PARALLEL VERTICAL PLANES

 Two parallel vertical planes define a


volume of space between them
VERTICAL LINEAR ELEMENT
that is oriented axially toward
 Vertical linear elements define the both open ends of the configuration.
perpendicular edges of a volume of
space.

U-HAPED PLANES

SINGLE VERTICAL PLE ELEMENT  A U-shaped configuration of vertical


planes defines a volume of space
 It has frontal qualities. Its two
that is oriented primarily toward
surfaces or faces front and establish
the open end of the configuration.
the edges of two separate and
distinct fields.

L-SHAPED PLANES

 An L-shaped configuration of
vertical planes generates a field of
space from its corner outward
along a diagonal axis.

You might also like