THEORY OF ARCHITECTURE introduction and detail.pptx

Theory of architecture according to GTU syllabus

1. THEORY OF ARCHITECTURE SUBJECT CODE : 1085002

2. ANTHROPOMORPHISM AN INTERPRETATION OF WHAT IS NOT HUMAN OR PERSONAL IN TERMS OF HUMAN OR PERSONAL CHARACTERISTICS : HUMANIZATION. OR USE OF THE METAPHOR OF THE HUMAN BODY, WHICH WAS REGARDED AS A DIRECT SYMBOLIC IMAGE OF THE. BUILDING AND ITS PARTS. THIS PROCESS INCLUDED THE DEFINITION AND METAPHORICAL DESCRIPTION OF BOTH. BODY AND BUILDING UTILIZING MEASUREMENTS, PROPORTIONS AND GEOMETRICAL FIGURES'. ALSO IT HAS THE APPEARANCE OF A MAN, OR IS DEPICTED IN HUMAN FORM . IT IS OFTEN SAID THAT “WALLS HAVE EARS”, BUT SOMETIMES THEY EVEN HAVE NOSES, EYES AND MOUTHS. THE BEST CASES OF THESE ANTHROPOMORPHIC ARCHITECTURES ARE THOSE WHICH DO NOT OPENLY MANIFEST THIS INTENTION, BUT WHICH INSTEAD HAPPENS ALMOST BY CHANCE.

3. DIRECTIONAL & NON DIRECTIONAL SPACE. THE DIRECTIONAL SPACE IS THE TYPE OF SPACE THAT DIRECTS YOU OR GUIDES YOU FROM ONE SPACE/ ROOM TO THE OTHER. THIS IS VERY COMMON IN SOME OF THE MUSEUMS IN ORDER TO MAKE SURE THAT THE VISITOR SEES ALL THE ARTIFACT OR WHATEVER IS PUT FOR THE PEOPLE TO SEE. THE NON DIRECTIONAL SPACE IS THE TYPE OF SPACE WHICH GIVES YOU THE FREEDOM TO WANDER AROUND AND GO WHEREVER PLEASES YOU IN THE SPACE. MODERN MUSEUMS ARE BUILT THAT WAY SO IF YOU GOT BORED YOU DON’T HAVE TO CONTINUE THE JOURNEY IN THE BUILDING, OR IF YOU FINISHED THE TOUR AND YOU WANT TO SEE A CERTAIN PIECE AGAIN YOU CAN SIMPLY GO BACK. IN ARCHITECTURAL AND LANDSCAPE DESIGN, THE ARCHITECT CAN CREATE SOME NON-DIRECTIONAL SPACE, SUCH AS:  THE MAZE OF BUILDINGS AND THE MAZE OF PLANTS IN GARDENS . THEY ARE EXAMPLES OF NON-DIRECTIONAL SPACES. ARCHITECTS CAN USE THIS PRINCIPLE TO DESIGN MAZES WITH VARIOUS FUN. NON DIRECTIONAL SPACE DIRECTIONAL  SPACE

4. DECONSTRUCTIVISM DECONSTRUCTIVISM IS, IN FACT, NOT A NEW ARCHITECTURE STYLE, NOR IS IT AN AVANT-GARDE MOVEMENT AGAINST ARCHITECTURE OR SOCIETY. IT DOES NOT FOLLOW “RULES” OR ACQUIRE SPECIFIC AESTHETICS, NOR IS IT A REBELLION AGAINST A SOCIAL DILEMMA. IT IS THE UNLEASHING OF INFINITE POSSIBILITIES OF PLAYING AROUND WITH FORMS AND VOLUMES. DURING THE FIRST WORLD WAR, RUSSIAN AVANT-GARDISTS, KNOWN AS RUSSIAN CONSTRUCTIVISTS, BROKE THE RULES OF CLASSICAL ARCHITECTURE AND COMPOSITION AND PRESENTED A SERIES OF DRAWINGS THAT DEFIED THE “GEOMETRIC NORMS” AT THE TIME. THEIR CRITICAL POINT OF VIEW AND EXPERIMENTATION WITH FORMS DISTURBED THE TRADITIONAL PERCEPTION OF ARCHITECTURE AND OPENED PEOPLE’S EYES TO THE ENDLESS POSSIBILITIES OF BREAKING ARCHITECTURE RULES. DECONSTRUCTION, FORM OF PHILOSOPHICAL AND LITERARY ANALYSIS, DERIVED MAINLY FROM WORK BEGUN IN THE 1960S BY THE FRENCH PHILOSOPHER  JACQUES DERRIDA. FAMOUS ARCHITECTS USING THIS STYLE ARE ZAHA HADID, FRANK GEHRY, PETER EISENMAN, ETC. KNOWN EXAMPLES ARE WALT DISNEY CONCERT HALL, DANCING HOUSE, CCTV HEADQUARTERS, ETC.

5. PERCEPTUAL SPACE & EXISTENTIAL SPACE A PERCEPTUAL SPACE CONSISTS OF  A SET OF STIMULI IN SOME SENSORY DOMAIN ALONG WITH A SET OF SIMILARITY RELATIONSHIPS . THE CHARACTERISTICS OF A PERCEPTUAL SPACE CENTER ON TWO FUNDAMENTAL PROPERTIES: DIMENSIONALITY AND INTRINSIC GEOMETRY. THE VISUAL SCALE CARVES PERSPECTIVE TO HOW THE BUILDING SHOULD BE PERCEIVED. THE HEIGHT AND MASSING OF THE BUILDING RESPOND TO THE OVERALL CONTEXT OF ITS SITE, PLUS HOW IT IMPACTS IT.  VISUAL PERCEPTION OF SPACE IS LARGELY BASED ON A RELATIONSHIP WITH THE SCALE . “ARCHITECTURAL SPACE CAN BE DEFINED AS  A CONCRETIZATION OF MAN'S EXISTENTIAL SPACE .” (NORBERG-SCHULZ 1971). MAN, FROM THE BEGINNING OF TIME, HAS BUILT SPACE ACCORDING TO HIS NEEDS; A SPACE THAT WAS FORMED BY WHAT HE WANTED TO SEE, HEAR, SMELL AND TOUCH. THE ENVIRONMENT BECAME ALIVE BY HIS CHOICE OF OBJECTS, AND THUS HE COULD RELATE HIS DWELLING IN THE WORLD WITH THE SPACE AROUND HIM. MAN ASSOCIATES THESE WITH HIS DAILY ACTIVITIES SUCH THAT SPACE BECOMES PART OF HIS EXISTENCE, BUILDING A MUTUALLY ADAPTIVE ASSOCIATION WITH THE HUMAN BODY. EXPERIENTIAL SPACES ARE  DESIGNED WITH A THEME, YET THEY ARE ALSO DESIGNED WITH A MEMORABLE EXPERIENCE IN MIND . THIS MEMORABLE EXPERIENCE IS ENCOURAGED BY THE HIGHEST LEVEL OF ENGAGEMENT POSSIBLE WITHIN THE ENVIRONMENT BY PROVOKING ALL FIVE SENSES.

6. ERGONOMICS ERGONOMICS AIMS TO CREATE SAFE, COMFORTABLE AND PRODUCTIVE WORKSPACES BY BRINGING HUMAN ABILITIES AND LIMITATIONS INTO THE DESIGN OF A WORKSPACE, INCLUDING THE INDIVIDUAL'S BODY SIZE, STRENGTH, SKILL, SPEED, SENSORY ABILITIES (VISION, HEARING), AND EVEN ATTITUDES. ERGONOMICS INVOLVES  DESIGNING THE WORKPLACE TO FIT THE NEEDS OF THE WORKER RATHER THAN TRYING TO MAKE THE WORKER ADJUST TO THE WORKPLACE . GOOD ERGONOMIC DESIGN HAS BEEN SHOWN TO INCREASE WORK QUALITY AND PRODUCTION AS WELL AS WORKER WELL-BEING. THE MAIN GOAL OF THE INTEGRATION OF ERGONOMICS INTO ARCHITECTURAL DESIGN IS  THE OPTIMIZATION OF HUMAN-BUILT ENVIRONMENT INTERACTIONS TO INCREASE OF HUMANS' SATISFACTION WITH THEIR BUILT ENVIRONMENT AND IMPROVEMENT OF THE PERFORMANCE OF BUILDINGS . ALPHONSE CHAPANIS , A FOUNDING FATHER OF THE SCIENCE THAT EVENTUALLY BECAME KNOWN TO THE GENERAL PUBLIC AS ERGONOMICS. A BATHROOM, FOR EXAMPLE, MUST HAVE ENOUGH SPACE TO COMFORTABLY FIT A BATHTUB AND SINK; A BEDROOM MUST HAVE ENOUGH SPACE TO COMFORTABLY FIT AN AVERAGE-SIZED BED; AND AN OFFICE BUILDING MUST HAVE ENOUGH SPACE TO COMFORTABLY FIT DESKS, AIR CONDITIONING UNITS, PUBLIC AREAS, MEETING ROOMS, AND SO ON.

7. THEMATIC THEORIES THEMATIC THEORIES ARE  TREATISES WHICH AIM AT THE FULFILMENT OF ONE PRINCIPAL GOAL, USUALLY AT THE COST OF OTHER CUSTOMARY GOALS OF BUILDING . THEORIES WHICH AIM AT FULFILLING SIMULTANEOUSLY SEVERAL GOALS, PERHAPS ALL THE GOALS THAT ARE KNOWN, ARE DISCUSSED ON THE PAGE THEORIES OF ARCHITECTURAL SYNTHESIS. THIS ADDS TO THE CLARITY OF THE THEORY, AND ALSO OF THE BUILDINGS THAT ARE DESIGNED ON ITS BASIS. THEY ARE OFTEN ADMIRABLE WORKS OF ART AND CAN BE USED AS EXEMPLARS IN THE EDUCATION OF YOUNGER ARCHITECTS. EVERYDAY ENVIRONMENTS ALWAYS HAVE BEEN HIGHLY THEMATIC. WE IMMEDIATELY RECOGNISE A VENETIAN GOTHIC PALACE, AN AMSTERDAM CANAL HOUSE, A GEORGIAN LONDON TERRACED HOUSE, OR A POMPEIIAN COURTYARD HOUSE AS MEMBERS OF PARTICULAR FORM FAMILIES, INSEPARABLE PARTS OF THE URBAN FABRICS THAT WHERE SHAPED WITH THEM.  OTHER BUILT FABRICS, ON FIRST SIGHT, MAY SEEM CHAOTIC AND DIFFICULT TO READ, BUT ON CLOSER SCRUTINY WE ALWAYS FIND THEMATIC ASPECTS. EVERY CULTURE HAS ITS OWN CONVENTIONS, HABITS, AND WAYS OF WORKING AND USING. IN THE PAST, BIASED WESTERN OBSERVERS THOUGHT TRADITIONAL MIDDLE EASTERN URBAN ENVIRONMENTS UNORGANISED WHILE, IN FACT, THEY HAVE A HIGHLY STRUCTURED THEMATIC COMPLEXITY. THE ARCHITECTURAL THEMES WHICH WE MAY FIND CAN HAVE DIFFERENT NAMES LIKE PATTERN, TYPE, STYLE OR SYSTEM.

8. THEORIES OF SYNTHESIS Theories of architectural synthesis are examples of theories which aim at fulfilling simultaneously several goals, usually all the goals that are known. • Architectural synthesis theories are useful in practical design projects • They are named as “design theories ”. • These paradigms are commonly applied in conventional construction projects which then produce practical but customary looking buildings which will probably never be included in the books on architectural history .• These theories of architectural synthesis do not encourage creating such unique monuments or architectural styles as do the thematic theories, each aiming at one goal. Instead, they can help at producing practical and useful buildings for average people. Design theories for Building Types • People have incompatible opinions and targets for building, and the same is true for individual building projects, if we take a total view on all of them. • Such classes of buildings can be devised for which the structure of goals is homogeneous enough to allow writing contradiction-free design theory specifically for a group. • Because the majority of requirements for a new building usually pertain to the intended use of the building, it is reasonable to select this for a basis for the classification . • The format of design theory for building types does not much differ from the general pattern of design theory and includes thus following items: • governmental regulations, • standards, • tools to assist design, like algorithms, advises and rules of thumb, • exemplars, i.e. descriptions of existing meritorious buildings or their details, • prefabricated components for buildings in the case that they are based on research and they thus can be said to "contain" theoretical knowledge.

9. SPATIAL ORGANIZATION OF SPACE AND FORM SPATIAL ORGANIZATION IN ARCHITECTURE IS  FUNDAMENTAL IN CREATING A COMPOSITION AS IT BRINGS TOGETHER DIFFERENT SHAPES AND FORMS AND PROVIDES A COHESIVE STRUCTURE TO THE DESIGN . THE INTERLOCKING SPATIAL RELATIONSHIP IS THE ULTIMATE RESULT OF THE OVERLAPPING OF TWO VOLUMES AND THE OUTPUT OF SHARED SPACE. THE INTERLOCKED AREA OF TWO VOLUMES CAN BE SHARED BY EACH SPACE EQUALLY, AND BY CONVERGING WITH ANY OF THE SPACES, IT CAN TURN OUT INTO AN INHERENT PART OF THE TOTAL VOLUME. A LARGE SPACE CAN HAVE A SMALLER SPACE WITHIN ITS VOLUME AND OF THE TWO LARGER SPACE HELPS IN DEFINING THE BOUNDARIES FOR THE SMALLER SPACE INSIDE IT. FOR THIS SPATIAL RELATIONSHIP TO BE UNDERSTOOD, A CLEAR DISTINCTION OF SIZE BETWEEN TWO SPACES IS NEEDED. ADJACENCY ALLOWS EACH SPACE TO BE CLEARLY DEFINED AND TO RESPOND TO SPECIFIC FUNCTIONAL OR SYMBOLIC REQUIREMENTS. AND THE AMOUNT OF CONTINUITY THAT TAKES PLACE BETWEEN TWO SPACES DEPENDS ON THE CHARACTERISTICS OF THE PLANE THAT SEPARATES AND BRINGS THEM TOGETHER AT THE SAME TIME. AN INTERMEDIATE SPACE LINKS TWO SPACES TO EACH OTHER AND THE SPATIAL RELATIONSHIP OF THE TWO PLACES IS DEPENDENT ON THE QUALITY OF THE THIRD SPACE. A CENTRALIZED ORGANIZATION IS A STABLE, CONCENTRATED COMPOSITION THAT CONSISTS OF A NUMBER OF SECONDARY SPACES GROUPED AROUND A LARGE, DOMINANT, CENTRAL SPACE. A LINEAR ORGANIZATION USUALLY CONSISTS OF REPETITIVE SPACES WHICH ARE SIMILAR IN SIZE, FORM, AND FUNCTION. IT ALSO CONSISTS OF A SINGLE LINEAR SPACE THAT ORGANIZES ALONG ITS LENGTH A SERIES OF SPACES THAT DIFFER IN SIZE, FORM, OR FUNCTION. AND IN BOTH CASES, EACH SPACE ALONG THE SEQUENCE HAS AN EXTERIOR EXPOSURE.

10. SPACE SPACE IS ONE OF THE ELEMENTS OF DESIGN OF ARCHITECTURE, AS SPACE IS CONTINUOUSLY STUDIED FOR ITS USAGE. ARCHITECTURAL DESIGNS ARE CREATED BY CARVING SPACE OUT OF SPACE, CREATING SPACE OUT OF SPACE, AND DESIGNING SPACES BY DIVIDING THIS SPACE USING VARIOUS TOOLS, SUCH AS GEOMETRY, COLOURS, AND SHAPES. “SPACE ARCHITECTURE IS  THE THEORY AND PRACTICE OF DESIGNING AND BUILDING INHABITED ENVIRONMENTS IN OUTER SPACE, RESPONDING TO THE DEEP HUMAN DRIVE TO EXPLORE AND OCCUPY NEW PLACES . WE CAN DEFINE PERCEPTUAL SPACE AS  THE PERCEIVED SPACE A BUILDING OCCUPIES BASED ON A FIXED VIEWPOINT . FOR EXAMPLE, IF YOU'RE BY A WINDOW IN THE INTERIOR OF A STRUCTURE, LOOKING OUT ONTO A LARGE BACKYARD, YOUR PERCEPTUAL SPACE IS INCREASED, SINCE YOUR VIEW PUSHES THROUGH THE GLASS TO THE EXTERIOR. SPACE IS SELF-EVIDENT, BUT THE WAY WE PERCEIVE IT IS NOT . OUR BRAIN HAS BUILT-IN MECHANISMS THAT ALLOW VISUAL INPUTS TO BE RECORDED AND PROCESSED, OUTPUTTING INFORMATION ALMOST SIMULTANEOUSLY THAT WE THEN ACT UPON. THE PROCESSING OF VISUAL INFORMATION SOMETIMES TRIGGERS COGNITIVE LOOPHOLES. SPACE PERCEPTION,  PROCESS THROUGH WHICH HUMANS AND OTHER ORGANISMS BECOME AWARE OF THE RELATIVE POSITIONS OF THEIR OWN BODIES AND OBJECTS AROUND THEM . SPACE PERCEPTION PROVIDES CUES, SUCH AS DEPTH AND DISTANCE, THAT ARE IMPORTANT FOR MOVEMENT AND ORIENTATION TO THE ENVIRONMENT, LIKE THIS WAY MAN CAN PERCIEVE SPACE.

11. ORDERING PRINCIPLES OF DESIGN ORDER IN ARCHITECTURE REFERS TO  SYSTEM OF RULES THAT MAKES UP THE SHAPE AND PROPORTIONS IN A DESIGN WORK   E.G. ANCIENT STYLES OF CLASSICAL ARCHITECTURE EACH DIFFERENTIATED FROM THE OTHER BY ITS PROPORTIONS, MOLDING AND DETAILS. THE PRINCIPLE OF THE ORDER STATES THAT  A PLACE SHOULD BE FIXED FOR EVERYTHING AND EVERYONE AND EVERYTHING AND EVERYONE SHOULD BE IN ITS PLACE . ESSENTIALLY IT MEANS ORDERLINESS. IF THERE IS A FIXED PLACE FOR EVERYTHING AND IT IS PRESENT THERE, THEN THERE WILL BE NO HINDRANCE IN THE ACTIVITIES OF BUSINESS/ FACTORY. SIX PRINCIPLES ENCOMPASS AN INTERESTING DESIGN.

12. ELEMENTS OF CIRCULATION IN PUBLIC BUILDINGS, CIRCULATION IS OF HIGH IMPORTANCE; STRUCTURES SUCH AS  ELEVATORS, ESCALATORS, AND STAIRCASES  ARE OFTEN REFERRED TO AS CIRCULATION ELEMENTS, AS THEY ARE POSITIONED AND DESIGNED TO OPTIMIZE THE FLOW OF PEOPLE THROUGH A BUILDING, SOMETIMES THROUGH THE USE OF A CORE. ON A FUNCTIONAL BASIS, CIRCULATION CAN BE DIVIDED INTO THE FOLLOWING: APPROACH. ENTRANCE. CONFIGURATION OF PATH. PATH-SPACE RELATIONSHIPS. FORM OF CIRCULATION SPACE. ALSO DEVELOPED THREE DISTINCT CIRCULATION TYPES,  LINEAR, CURVED, AND GRID-BASED , WHICH DIFFER IN THEIR GEOMETRICAL STRUCTURE BUT ARE COMPARABLE IN THEIR FUNCTIONAL AND TOPOLOGICAL ORGANIZATIONS.

13. 5 POINTS OF ARCHITECTURE BY LE CORBUSIER LES 5 POINTS D' UNE ARCHITECTURE NOUVELLE, WHICH LE CORBUSIER FINALLY FORMULATED IN 1926 INCLUDED PILOTIS – A GRID OF SLIM REINFORCED CONCRETE PYLONS THAT ASSUME THE STRUCTURAL WEIGHT OF A BUILDING. THEY ARE THE FOUNDATIONS FOR AESTHETIC AGILITY, ALLOWING FOR FREE GROUND FLOOR CIRCULATION TO PREVENT SURFACE DAMPNESS, AS WELL AS ENABLING THE GARDEN TO EXTEND BENEATH THE RESIDENCE . FREE DESIGN OF THE GROUND PLAN – COMMONLY CONSIDERED THE FOCAL POINT OF THE FIVE POINTS, WITH ITS CONSTRUCTIONAL DICTATING NEW ARCHITECTURAL FRAMEWORKS. THE ABSENCE OF LOAD-BEARING PARTITION WALLS AFFORDS GREATER FLEXIBILITY IN DESIGN AND USE OF LIVING SPACES; THE HOUSE IS UNRESTRAINED IN ITS INTERNAL USE. FREE DESIGN OF THE FAÇADE – SEPARATED EXTERIOR OF THE BUILDING IS FREE FROM CONVENTIONAL STRUCTURAL RESTRICTION, ALLOWING THE FAÇADE TO BE UNRESTRAINED, LIGHTER, MORE OPEN. HORIZONTAL WINDOW – RIBBONED WINDOWS RUN ALONGSIDE THE FAÇADE’S LENGTH, LIGHTING ROOMS EQUALLY, WHILE INCREASING SENSE OF SPACE AND SECLUSION. AS WELL AS PROVIDE INTERIOR SPACES WITH BETTER LIGHT AND VIEW OF THE SURROUNDINGS. ROOF GARDEN – FLAT ROOFS WITH GARDEN TERRACES SERVE BOTH HARMONIC AND DOMESTIC UTILITY, PROVIDING NATURAL LAYERS OF INSULATION TO THE CONCRETE ROOF AND CREATING SPACE. THE VILLA SAVOYE  IS ARGUABLY LE CORBUSIER'S MOST SIGNIFICANT CONTRIBUTION TO MODERNIST ARCHITECTURE AND EPITOMIZES ALL PRINCIPLES OF HIS FIVE POINTS OF MODERN ARCHITECTURE.