Architectural

Theories of Design
Prepared by: Shaine Maxine A. Sera Jose
2-c
CHAPTER I: INFLUENCE ON
ARCHITECTURAL DESIGN
CHAPTER I: INFLUENCE ON ARCHITECTURAL DESIGN
• GENERAL INFLUENCES
NEEDS OF MAN
1. PHYSICAL NEEDS
B. Self-preservation
• Ex. Food, shelter, clothing- basic
• Add to this basic needs: Power, water, transportation, ecological balance,
education, sports, medical, and livelihood

B. Reproduction- for the population to increase and continue in existence.

SHELTER is something that covers, protects, or defends as a roof that shields one
from the elements and changes.
• The modern man’s shelter shall have:
Necessities- warm, dry house with glazed doors, windows, sanitations, and
permanency.
Conveniences- rooms shall be arranged economically. Circulations are
studied according to functions.
Comforts- this must contain the labor saving devices which provide heat,
ventilation, and instant communication. The furnishings are designed for
comfort.
2. EMOTIONAL NEEDS
• The emotional reactions of man have to do with the instincts stirred by the
forces of religion and art and with the desire to indulge in recreation.
3. INTELLECTUAL NEEDS
• Education, science and government, demand a proper architectural setting.
Intellect or reason alone may erect a utilitarian building; emotion will
endow it with beauty and interest.
ACTIVITIES OF MAN
If life is to exist and civilization is to develop, there are fundamental impulses
or desires which must be satisfied. These forces may be called the stimuli to
action. Their effect upon life and architecture, may be designated as Resulting
Manifestations: RM
1.Desire for Preservation- in obtaining food, shelter, clothing, and security,
civilized man must have commerce, government and religion.
2.Desire for Recognition- this is a desire for prestige, pride and ambition,
social status, physical supremacy, intellectual attainment, personal or civic,
result in the struggle for position.
3.Desire for Response- this arises from the gregarious nature of man, from his
wish for love, friendship, and sociability.
4. Desire for Self-Expression- this is the urge of man to assert himself as an individual. To do
things in his own particular way.
II. INFLUENCES OF NATURE
Climate and topography influence the life and habits of a nation.

EFFECTS ON ARCHITECTURE
A. CLIMATE- this affects the habit and temperaments of people. Those near the sea are quiet,
taciturn and bold people.
WARMER COLDER
CONCEPTS
 Flamboyant  Colors are more subdued
 Vegetation is luxuriant  Designer depends less upon
 Colorful, textured landscape
 Plain walls contrast with foliage

ROOFS
 Flat and colored  Steeper less colorful
Ex. Italian Mediterranean  High pitched to sighted snow/rain
PLANS
 Open interiors includes  Compact in arrangement
courts/patios
CIRCULATORY ELEMENTS
 Small window to avoid excessive  Capture greatest amount of light
heat and glare and heat in interior
B. TOPOGRAPHY- Geological character of site (Planes, hills, cliff)
C. MATERIALS- Indigenous/locally available materials
- Distinct to the architecture per location
III. INFLUENCE OF MAN
• SOCIAL CONDITIONS- interest of people in a certain periods of time (trend).
A.PERIOD
B. MAN’S PERSONALITY
C. MAN’S INTEREST
• THE PRINCIPLES OF DESIGN: ESSENTIALS OF THE STRUCTURE
A. THE INVISIBLE STRUCTURE- Plan
• The most important element of volume and should receive early consideration when
solution of problem is attempted.

B. THE VISIBLE STRUCTURE- by enclosing space, volume is created.

 FORM- Deals with shape, figure becomes 3D
a. MASS- Volume or evidence of 3D
b. DIRECTION- Vertical/Horizontal
c. SHAPE- Geometric qualities
 SURFACE- 2D as in a façade of building. Also known as area
a. TEXTURE- rough/smooth treatment
b. TONE- light/shade through openings/projection
c. COLOR- inherent or applied
• Mass cab be vigorous or weak. It may be indecisive or faltering.
- if correctly composed in an arresting manner, may arouse definite emotional
reaction
- Stimulate observer with sense of its completeness
• Note: ornament should simply enhance a blog.
- For mass to be decisive. It should be vertical/horizontal.
- “Massing” direction/prevailing volume
• Form identifying characteristic of volume. Determined by shapes and
interrelationships of planes.

VISUAL PROPERTIES OF FORM

A.SHAPE
B.SIZE
C.COLOR- affects visual shapes of form
D.TEXTURE- tactile absorbs light or smooth reflects
E.POSITION- relative to environment/visual field
F. ORIENTATION- relative to ground plane/compass
G.VISUAL INERTIA- depends on geometry and orientation
• Shape identifying characteristics of a plane
-Edge contour
- Silhouette of volume

• Surface are areas of materials which enclose a building and are of secondary
importance to the masses which they create.
- TEXTURE- refers to the quality of surface treatment.
- TONE- is a variety in the use of the gradations from black to white.
- COLOR- the warmer climates have usually produced the most colorful
architecture.
CHAPTER II: CHROMATIC ENERGY
OF ARCHITECTURAL DESIGN
 CHAPTER II: CHROMATIC ENERGY OF
ARCHITECTURAL DESIGN
PSYCHOLOGICAL EFFECTS OF COLOR
 RED- tends to produce rage or passion; it is exciting and stimulates the brain.
 YELLOW- denotes gayety; stimulating cheering- to the lazy, upsetting to the nervous. It
is the most luminous color.
 ORANGE- has stimulating effect and should usually be used in relatively small amounts.
 BROWN- is restful and warming but should be combined with orange, yellow or gold
because it could be depressing if used alone.
 GRAY- suggests cold and is also depressing unless combined with at least one livelier
color.
 WHITE- is cheerful, particularly when used with warm colors like red, yellow and
orange.
 PURPLE- is sedative and soothing. It suggests a stately or melancholy atmosphere.
Cheerfulness or cowardice, cheapness.
 BLUE- is peaceful and tranquil. It reduces excitability and therefore helps one to
concentrate.
 GREEN- has a cooling quality and it acts as a sedative.
 COLOR AS AN EXPRESSION ELEMENT OF DESIGN
•
• The uniform colour of the wall a room.
• When four (4) sides of wall was painted with four grey colours say c, e, g and i, c was
almost white, i was dark grey while the other two colours were inserted between these
extremes at similar intervals.
• When the room was finished, it was impossible to distinguish any difference in colour
between the walls painted c and e, and the same was true for the walls painted q and i. In
the corner where e and i met, however, a distinct difference in colour could be seen and
this was also the case in the corner c, q.
• The explanations is that the two sides of a corner form part of a room. As a result of this
pressure, we try to perceive a uniform colour and this is easier when the colours are
‘shadow colours’ of each other. They are then perceived as the same local colours in
different illumination. This perception is impossible if the difference in lightness is too
great, and then the two wall colours are perceived at different local colours.
• One special result of the influence of form on colour is the “spreading effect”. In this
figure, divide into halves by a finger or pencil placed between the black and white grilles.
Where the red meets the black parts of the grill, it becomes darker than where it meets the
white, an effect directly opposed to contrast induction.
 The effect of the visible size on colour

• A colour covering a small surface is less intense in colour than the same local
colour spread over a large surface. This may be called the “area effect”. It is
well known to architects and interior decorators that a wall painted in
accordance with a given colour sample has a much stronger than the sample
itself.

• The colour on a figure may change at times according to the distance from
which it is observed. The deep blue and pale yellow bands change to black,
and nearly white when looked at form a distance. This is apparently caused
by the diminution in size of the retinal image
 Colours on a non-uniform background

• Such colours are subject to many unexpected changes. The blue areas in the
pattern below are printed with exactly the same colour ink.
• The blue areas in the pattern are printed with exactly the same ink. Note that the
left side blue seems darker than the blue at right. Now look at it from a distance, the
effect is heightened. The effect of colour on form .
• If the form are able to change the colour, then the colour is also able to change the
form. The figure shows what is called an irradiation phenomenon –a small, light-
coloured object, seen against a white background. Irradiation is considered to be
physiological phenomenon met frequently in neurology.

• Fields of different colours whose breadth is geometrically equal may, at times, be

perceived as having different breadths.
CHAPTER III: PRINCIPLES OF
COMPOSITION
 CHAPTER 3: PRINCIPLES OF COMPOSITION
• Architecture has the same basic principles which are common to painting, sculpture, music and
literature. It deals with unity, balance, rhythm, and composition. It is organized around a central
plot, as in a novel. It has design, as a sonata. It can be rhythmic as the dance. A painting has contrast
of color, and a fine piece of sculpture has beauty of form and line. Good architecture attains pleasing
composition through the relation of contrasting masses and tones.
• It is difficult to isolate a single quality and consider it alone. A synthesis of all the principles is
necessary in order to insure a unified and satisfactory composition, but for the sake of study, it will
be necessary to analyze separately these qualities and their application to architectural problems.
Mere recognition of these principles does not, however, insure a successful design. An individual
may be a good critic but still unable to write a poem, paint a landscape, or design a building.
• Creative ability, in addition to a knowledge of application of the elements of design, is necessary
for the production of distinguished results. Ability to discern between what is fine and what is
mediocre that quality which we call TASTE –must be developed.
• GOOD TASTE is that discerning judgment which one exercises in connection with the better
things of life. Good taste steers an individual through the seas of social adjustments and aesthetic
decisions. It enables him to choose correctly in accordance with cultural or artistic standards.
Popular taste, however, is so often a matter concerned with group action and changes so with the
times, that it is not reliable guide. Taste must, therefore, be based upon a knowledge of the rules of
proper conduct with respect to our actions and of the principles of good composition in regard to
our artistic endeavors. Good taste and creative ability together should produce buildings which
merit the name architecture.
CONTRAST ………………… variety
• Our physical impression are made possible through contrast. We can hear because
of the contrast between silence and sound, because of the difference between the
lengths of the sound waves. We can feel because of the contrast between the qualities
of objects. The nerves in our finger tips tells us that some things are cold and smooth
whereas others are warm and rough. We can see a building because of the contrast in
the shapes and textures of the surfaces which enclose space to make architecture.
TYPICAL CONTRAST:
1. CONTRAST OF FORM
Shape
Mass
2. CONTRAST OF LINE
Direction
Type
3. CONTRAST OF SIZE
4. CONTRAST OF TONE
CONTRAST OF FORM
• In order for a shape to be interesting there must be variety or contrast.
Square and circular areas may create a diversified interest.

• If form is more properly conceived in three dimensions, the architectural

result is mass or volume. If contrasting bulk are combined, it is possible that
the resulting composition may be interesting and satisfying.
1.CONTRAST OF LINE
• Lines may vary with reference to direction. It is possible to have a horizontal
line opposing a vertical or diagonal lines may form a composition.
• A line may also offer contrast on account of its change in type or character.
It may be curved or straight, regular or irregular, broken, or continuous.

• In an architectural example, contrast of types of line gives an interesting

contour or silhouette to a building.
2. CONTRAST OF SIZE
• Deals with objects which may have the same shape and direction but may
vary in size. If this change in size is gradual and uniform, the result is called
gradation
3. CONTRAST OF TONE
• Tone may be secured by contrast of texture, openings, or planes.
• An architectural composition is presented which illustrates in a combined
way some of the various types of contrast. There is, first of all, contrast of
mass –not only with references to whether it is cylindrical or rectangular,
but also with reference to the direction of the mass or volume. The entire
composition is decidedly horizontal; but variety is secured by the vertical
direction of the tower, of the end wings, and the chimneys. Contrast of
shape is also present in the rectangular and arched openings of the
building, and contrast of tone is secured by the darks and lights of the
roofs, walls, and windows.
• CONTRAST is the opposite of SIMILARITY. If similarity exists to a marked
degree, the effect is monotony. The façade of a building mat consist of
simple, unadorned wall pierced with many uninteresting windows, and the
effect may be very monotonous. On the other hand, it is possible to go to
the other extreme and have contrast which too violent. Pilaster, belt
courses, and decoration may be used too profusely. The result will be a
restless disorganized design which lacks repose. It is thus, necessary that
contrast be present in and just the correct amount: enough to give variety
but not an excess; which will cause confusion.
 CONTRAST IN ARCHITECTURAL SUBJECT:
1.CONTRAST OF MASS
2.CONTRAST OF DIRECTION
3.CONTRAST OF CHARACTER
4.CONTRAST OF TREATMENT
a. Same material used in different treatment
b.Contrast of pattern different materials
c. Contrast of area
 PROPORTION ………….. Relationships

PROPORTION
• Proportion is largely a matter of relationships. It is evident by a comparison
which the eye makes between the size, shape, and tone of various objects or
parts of a composition. These are certain geometrical forms which have very
definite proportions.
 THE GOLDEN SECTION
• Defined geometrically as a line that is divided such that the lesser portion is to the
greater as the greater is to be the whole.

Proportions May be Based on the Following Factors:

1. Natural Material Proportions

• All building materials in architecture have distinct properties of stiffness, hardness
and durability. And they all have an ultimate strength beyond which they cannot
extend themselves without fracturing, breaking or collapsing.
2. Manufactured Proportions
• Many architectural elements are sized and proportioned not only according
to their structural properties and function, but also by the process through
which they are manufactured. Because these elements are mass-produced
in factories, they have standard sizes and proportions imposed on them by
the individual manufactures.
3.Mode of Construction or Structural Proportions
• The size and the proportions of structural elements such beams, columns,
are directly related to the structural tasks they perform and can be,
therefore; visual indicators of the size and scale of the spaces they help
enclose.
4.Requirements of the Program, Function or Government
Ordinances
a. The proportion of the height of a room is controlled by local building
ordinances, logic and artistic sense.
b.Auditorium proportions are influence by visual and acoustical
considerations.
c. Proportions between heights and areas of rooms are controlled by the
capacity and lighting requirements of the room.
5.Traditions and Generally Accepted Taste
a. At the exterior, the height of an edifice should be in proportion to the
character that the edifice demands.
b.Buildings of worship such as churches and temples usually have traditional
proportions.
c. Classical buildings usually have proportions based upon traditional rules.
 Distinction between ‘Relative’ and ‘Absolute’
Proportion.

1.Relative Proportion –deals with the relationship between the parts of an

object and the whole example ratio between the diameter of a classical
column and its height or the relation of the panels of the door and the
whole door.
2.Absolute –deals with the relationship between the different parts of an
object or the whole to the various parts.
 ANTHROPOMORPHIC PROPORTIONS
• These system are based on the dimensions and proportions of the human body.
Anthropomorphic proportioning methods seek not abstract or symbolic ratios, but
functional ones. They are predicated on the theory that forms and spaces in
architecture are either containers or extensions of the human body and should,
therefore, be determined by its dimensions.
• The dimensions and proportions of the human body affect the proportion of things
we handle, the height and distance of things we must reach, he dimensions of the
furniture we use to sitting, working, eating, and sleeping.
•
• In addition to these elements that we used in a building, the dimensions of the
human body also affect the volume of space we require for movement, activity and
rest.
 DYNAMIC AND HARMONIC SERIES

A.DYNAMIC RECTANGLES – when GP and AP are combined to conceive a

myriad variations. They can be combined to sit one a top the other, they can
be set in opposition so that one diverges as the other converges.
B.SQUARE SYSTEM – a square of side 1 has a diagonal length = 2 two parallel
sides of the square are extended indefinitely.
C.This dynamic series, projected in two dimensions offers a series of square
with areas of 1,2,3,4,5,6,7……. Square units.
D.Alternative positive and negative rotation, to the x and y axes, produces an
intermittent series of dynamic rectangles. Rearrangement brings the centre
of energy to the centre of pattern. Rotating each diagonal into the next
quadrant produces a spiraling series of dynamic rectangles.
E. Diagonal system giving a diminishing gradation of lines using the square.
 SCALE ………………. Size
• Scale is a fixed proportion used in determining measurements and dimensions.

• Scale has reference to proportions which are good for humans. Scale deals with the
relation of architecture motifs, such as doors, windows or moldings, to each other and
the human figure. Architecture must be adapted to human needs. Door should be
large enough to walk through in comfort but not so gigantic that they require an
almost impossible physical effort to close the.

• Steps should be such a size as to permit easy ascent and descent. Ceiling heights
must be properly proportioned to the size and function of the room. In order to
prevent one from falling from one level to the next, a balustrade should be related to
the human figure in such a way that safety is secured. Thus, design is a matter of the
adjustment of architectural elements to meet the needs of the human race, and
proper scale should be present when this adaptation is made.
• While proportion refers to the mathematical relationships among the real dimensions of a
form or space, scale refers to how we perceive the size of a building element or space relative
to other forms. In visually measuring the size of an element we tend to use other elements of
known-size in their context as measuring devices. These are known as scale-giving elements,
and fall into two general categories.
a. Building elements whose size and characteristics are familiar to us through
experience like doors, windows, tables, chairs, stairs, etc.
b.Human figure.
In architecture, therefore, we are concerned with two types of scale:
1. GENERIC SCALE –the size of a building element relative to other forms in its
context; (three windows indicate three stories, the small window indicate a
small room inside.)
2. HUMAN SCALE – the size of a building element or space relative to the
dimensions and proportions of the human body.
 BALANCE AND GRAVITATIONAL CURVES

• Gravitational – natural tendency towards some point or object of influence.

The gravitation of people towards suburbs.
 BALANCE or equalization …………….. Equilibrium
• In the temperate zone, the climatic changes tend to balance each other.
However, nature is variable. If there is marked lack rain, a drought results. If
there are too many people for the food supply, there is famine. The proper
balanced between supply and demand has not been maintained. A person
should also have a balanced diet in order not to be thin or stout or get sick.
Furthermore, the books of accounts of an office or business establishments is
balanced so as to have a clear view of the assets and liabilities.
 AXIS
• The most elementary means of organizing forms and spaces in architecture. It is a
line established by two points in space and about which forms and spaces can be
arranged in a regular or irregular manner.
• Although imaginary and not visible, an axis is a powerful, dominating, regulating
device. Although it implies symmetry. It demands BALANCE.
• The specific disposition of elements about an axis will determined whether the
visual force of an axial organization is subtle or overpowering, loosely structured or
formal, picturesque or monotonous.
• An axis has qualities of length and direction, and induces movement and views
along its path. An axis must be terminated at both of its ends and can be reinforced by
defining edges along its length.
• There are three (3) types of BALANCE in the study of composition.
1.SYMMETRICAL BALANCE …………………………………………… monumental effect
• Centralized
• Formal
• Radial
2. UNSYMMETRICAL BALANCE ……………………………………… informal
3. GRAVITATIONAL BALANCE ……………………………………….. picturesqueness of
surroundings
1.SYMMETRICAL
a. Central axis – the easiest and simplest kind of balance in which the elements
are arranged in precisely the same manner on either side of a central axis or
line.
b. Formal – there is another type of balance which approaches absolute
symmetry but which lacks some of the essentials of this kind of composition.
c. Radial – is characterized by an arrangement where all the parts radiate from
a center like the spokes in a wheel.
2. UNSYMMETRICAL (informal)
• Unsymmetrical or occult balance is more subtle and elusive, and is more
difficult to attain. It attempts to satisfy the eye without any effort to place
equal masses at similar distances from the center of the composition. It is the
grouping, informal manner, of elements of varying sizes and shapes.
3. GRAVITAIONAL or PICTURESQUE
• This kind of composition is the complete adaption to its surroundings. This
type of composition is often far removed from conscious composition.
Picturesqueness is the opposite of symmetrical composition. Essentially, it is a
quality which is not composed but freely result from time and the forces of
nature.
 RHYTHM movement repetition spacing
• Music is an art that is heard. It is a combination of sounds arranged in such a
manner as to arouse various reactions of pleasure, interest or excitement.
Architecture is an art which is seen. It is a composition of elements so
arranged as to serve a utilitarian purpose and, in addition, to have an
emotional appeal. The music of the western world is based upon rhythm,
melody and harmony. Rhythm is the foundation of music. Although it is
necessary that there be tones of pleasing quality, still these tones must first
be organize into some kind of time or spacing.
• Unorganized sounds result in discord or dissonance; unorganized
architectural forms cause confusion. Movement is the basis of rhythm. The
movement in music may consist of the time, which may be fast or slow, or it
may be the Tempo or repetition of the theme through the composition,
regular or irregular.
•
 TWO KINDS OF RHYTHM

1.UNACCENTED RHYTHM –if equally spaced windows are introduced on the

unbroken wall, then regular repetition is present.
2. ACCENTED RHYTHM –if the openings or details are arranged in such a
manner that some are more important than others, then the eye grasps the
significance of this relationship and pauses longer in contemplating the larger
elements.
• Rhythm is ORGANIZED MOVEMENT. It must be directed and controlled. If
unrelated noises occur, such as the din of the factory, there is no organization
and hence no rhythm. If windows and doors are thrown into the façade of a
building in a haphazard manner, there is no scheme or sense to the
arrangement and again no rhythm.
• Rhythm may be one of the following:
a.Rhythmic use of color –movement of the eye across a painting from spot to
spot of similar color.
b.Rhythmic use of line – repetition of the similar type of line in a piece of
sculpture.
c. Rhythm of motion –the movement of dancers.
• Rhythm of direction – continuity of a series of arches forming an arcade.
 UNITY …. And …. HIERARCHY … harmony

• Unity suggest harmony. If a structure has unity, it must have contrast, rhythm and scale. To
have harmony, all the unrelated parts of an architectural arrangement are brought into proper
relation to each other so that a satisfactory composition is obtained. If unity prevails, all the
unimportant parts must be kept in their places and be made simply to assist the major units in
the roles which they are to play in the development of the structure. This is similar to a well-
organized business group or a disciplined army. There must be the leaders and those who assist
the leaders, each with his own particular function to perform.
• The simplest kind of unity dealing with motifs of more than one member is to be found in or –dinary
REPETITION. Like repetition of sound or beads of the same size and spacing. To give emphasis and
interest, an accent is then introduced.
• In an architectural composition, the elements must be arranged in such a way as to insure the
domination of the less important parts by the major masses of the building.
 There are at least seven (7) ways of producing an
effect of UNITY in a design.
1. There must be central motif, a theme, or a center of interest. The attention
of the observer must be drawn to this focal point.
2. The major masses of the building should dominate the less important ones.
3. All the unit should together form a compact and coherent ensemble.
4. The element of emphasis must be introduced. It may be secured by the size,
position, or treatment of a particular motif which is to give the desired
importance to that particular part of the building.
5. By limiting the amount of treatment seen at one time.
6. By selecting details, materials, colors, etc. in harmony with the basic idea.
7. By selecting style, furniture and furnishing in harmony with the
surroundings.
 COMPETITION
• When elements compete with each other for the place of importance. There
is competition. This causes ‘DUALITY’ or the presence of two strong conflicting
personalities or masses resulting in discord and redundancy. The tower appear
attenuated and unstable. The shared element is too weak to counteract the
overturning force acting on the towers.
 CONFUSION

• Another kind of competition where dissimilarity is too pronounced. There is

no harmonious treatment and dissimilarities in architectural elements such as
door, windows are combined. There is no definite architectural character and
no central theme.
• The principle of HIERARCHY implies that in most architectural compositions,
real differences exist among their forms and spaces. These differences reflect in
a sense, the degree of importance of these forms and spaces, and the
functional, formal, and symbolic roles they play in their organization. The value
system by which their relative importance is measured will, of course, depend
on the specific situation, the needs and desires of the users and the decisions
of the designer. The value expressed may be individual or collective, personal
or cultural.

• In any case, the manner in which these functional or symbolic differences

among a building’s elements are revealed as critical to the establishment of a
visible, hierarchical order among its forms and spaces.
• For a form or spaces to be articulated as being important or significant to an
organization, it must be made visible unique. This can be achieved by endowing a form
or shape with the following:
1. Exceptional SIZE

• A form or space may dominate an architectural composition by being significantly

different in size than all other. Elements in the composition. Normally, the
dominance is made visible by the sheer size of an element. In some cases, an
element can also dominate by being significantly smaller than the other elements
in the organization and placed in a well-defined setting.
2. Unique SHAPE
• Forms and spaces can be made visually dominant, and thus, important by
clearly differentiating their space from that of the other elements in the
composition. A discernible contrast in shape is critical, whether the
differentiation is based out the change in geometry or regularity. It is
important that the shape selected for the hierarchically important element
be compatible with its function and use to have unity.
3. A STRATEGIC LOCATION: form and space may be:
• Strategically placed to call attention to themselves as being the important
elements in a composition. Hierarchically important locations for a form or space
include the following:

a. The termination of a linear sequence or axial organization

b. The centerpiece of a symmetrical organization.
c. The focus of a centralized or radial organization.
• Offset, above, below or in the foreground of a composition
 CHARACTER …………. Expressiveness
• Building have points of similarities, like walls, doors and roofs but have
different purposes and appearances. In any architecture which is worthy of the
name, the exterior of a building expresses the internal function and so
MANIFESTED CHARACTER is the external expression of internal qualities. The
element of character grows out of the function of the building and the
consideration of all creative principles of composition.
Character in architecture is derived from (3) types. They are character from:
1. FUNCTION, or use of the building
2. ASSOCIATION, or influence of traditional types
3. PERSONALITY, or the human quality or emotional appeal
1.FUNCTIONAL CHARACTER
• The most important kind of character in architecture is that which results
from the purpose of the building or the reason for its erection. The use of a
structure naturally calls for a certain disposition of parts, and this
arrangements affects the appearance of the exterior, by which we largely
judge character.

Examples:

a. Museum – must have galleries with ample wall space and top light, which eliminates windows
and necessities the use of skylights.
b. A school building – must contain many windows to admit the necessary side light and to offer an
interesting contrast with the possible monotony of the classroom walls.
c. Shop – a structure with large show window usually a shop for the display and sale of
merchandise.
d. Factory – readily seen from the exterior to express the efficient operation of the
manufacturing within. The exterior shows often only the structural members – which are
stripped of all unnecessary decoration together with the enclosing expanses of the glass to
light the interior. The building has little architectural show. It is simple since it is to raise
revenue.

e. Monument – serves to perpetuate a memory of a person or an important event. It does not

produce any revenue. It must be impressive and should have dignity and command respect. Its
function, then, is to be monumental, usually symmetrical in arrangement and uses permanent
materials like stone, steel, concrete, or some durable and heavy materials to produce a feeling
or lasting effect.

f. A bank – should have dignity –it is a building designed to house an activity which is very near
to the heart and mind of the average of the citizen –that caring for his money. The building
should inspire confidence in its integrity. This building houses an activity which is work.

g. Movie – cinema house – a place or relaxation or recreation after a hectic day of discharging
one’s obligations of the day. In this building psychological use of color and decoration is
important. Bright colors and unusual or unique architectural effect quicken the imagination
and cater to the holiday spirit. This building houses an activity of a man – that of relaxation.

h. House – should reflect the informal intimacy of home life.

2. ASSOCIATED CHARACTER
• This comes from the influence of ideas and impressions related to or growing out
of past experiences. We know by association and experience that the various races
have different physical characteristics and we are thus able to distinguish between
an Oriental, a Negro, a Caucasian, and an Indian. We often associate such features
as color, eyes, height, nose and others.

• However, when a mode of construction or type of design is found to be

antiquated, it may be discarded, provided that a worthy successor has been
developed to take its place. The ultra-modernist would eliminate all association
with the past. They would allow the function of the building to control the exterior
regardless of the effect.

• The contemporary movement in architecture has, however, caused many revisions

in our association of ideas. It has been necessary to adjust our point of view to the
many influences which are now changing the character to a modern buildings.
New method of construction have grown out of new materials, and it is now
possible to use openings in ways which were not practicable according to our
former conceptions of the limitations of brick and stone. Our attitude toward
physical comfort has been revolutionized.
• If a building functions properly and is composed according to the rules of good
design, it then follows that the character shall or rather should be satisfactory. A
bank for example, need no longer be heavy and semi-fortified. Our bank
architecture was borrowed from the temple of Greece. The massive walls inspired
the depositors with confidence. Changing conditions have brought about a
realization that there is a little relation between thick stones, barred windows, and
the security of investments and savings. Only the conspicuous vault doors remain
to advertise the safety of the deposits. Our banks have now become efficient
places in which to work, and they present cheerful and dignified interiors in which
to transact business.
3. PERSONAL CHARACTER
• Personal character in architecture bears a certain relation to the same attribute in
the life of an individual. It is found that the element of personality plays an
important part in the revealing of character both with man and with architecture.
Members of the various races have different traits – some common to several
groups, some peculiar to a particular group. The plantation Negro is often happy
and carefree. The oriental is a mystery to the Caucasian; the Indian is stoical and
taciturn. Individuals are gay or gloomy, sparkling or stupid, graceful or gawking.
•
• Buildings have qualities which are directly related to their functions, but in
addition, they may possess characteristics which have to do rather with the
emotional recreation set up in the mind of the observer. Like members of the
human race, buildings may be stern and forbidding, light and playful, or sedate and
dignified, with reference to the impressions which they are capable of giving.
Example:

• A custom-house – here a sense of strength and solidity is required. Strong

walls are deemed necessary, and heavy masonry with few openings is used
to give the desired character. Here all is seriousness.
• A large house – for those who want to display evidence of his wealth.
• A simple designed house – for the quiet and unassuming people.
 Personality of character in a building can be attained by the ingenious
application of masses, lines and color treatment.

1.Heavy masses ………….. sedate (composed)

(Dignified)
2. Straight lines ……………. Sturdiness (masculine effect)
3. Horizontal lines – repose (rest, peace) stability, comfort, and widening
effect.
4. Vertical lines – strength (power, vitality, dignity, inspirational emphasize
height and monumentality dynamic)
5. Diagonal lines – action (movement, vigor and speed).
6. Irregular lines – informality (excitement).
7. Curved lines – grace (refinement, feminine emotional, continuity, flexibility).
8. Bright colors – (red, yellow, orange, etc.) conspicuous, cheerful, stimulating,
attractive, advancing effect
9. Cool colors – blue green, violet, etc. (inconspicuous, restful receding effect,
suggest distance).
Character then maybe expressed in architecture by the
following:
1. Scale …. When increase, it gives a feeling of grandeur, dignity and monumentality.
However, when scale is reduce, these characteristics are lessened if not reversed.
2. Proportion .... regarded to produce formality in character when applied. Example is
triangular massing. The huge proportions applied in the parts of the classical
buildings give them the formal character.
3. Style ….. many architects believe that style is character expressive of definite
conceptions as for example –grandeur, gaiety or solemnity. On account of
traditions, certain styles of Architecture were adapted for specific types of
buildings. This give the proper or good “ambience” say, for example, a neat and
orderly modern design of a beer garden as compared to a beer garden with
indigenous, all local materials used.

• AMBIENCE – surrounding on all sides, an environment or its distinct atmosphere; or milieu.

• MILIEU – environment, social or cultural setting.
CHAPTER 4: PLAN
COMPOSITION
 CHAPTER 4: PLAN COMPOSITION
• SCHEME
Good planning is not the placing of areas together in an aimless way. A logical
plan must have a reason behind it- “a parti”, or scheme. If an exterior which
tends toward symmetry, or monumentality, is desired, the plan elements may
be arranged in a balanced manner about a central axis.
 AXIAL ARRANGEMENTS
With the exception of the most
elementary forms, plans 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
lines about which the
composition is organized.
 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.
 EMPHASIS

It is often desirable to direct a

structure which will house a
single important object or to
have one 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.
 SECONDARY PRINCIPLE

A. REPITITION may be
present when a number of
room of equal size and
shape occur side by side, or
when windows, columns, or
arches are spaced in a
regular manner to give
unaccented rhythm.
B. ALTERNATION A synonym
for contrast. There may be
alternating sizes of rectangular
elements or alternation of
shapes.
C. 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 the situation 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 imp o r t a n t
units.
D. TRANSFORMATION the
principle of transformation
allows a designer to select a
prototypical architectural model
whose formal structure and
ordering of elements might be
appropriate and reasonable,
and to transform it through a
series of discrete manipulations
to respond to the specific
conditions and context of the
design task at hand.
******END******