THEORY OF ARCHITECTURE
AR. JOSEPHINE SANDY R. LU
ARCHITECT
from the Greek words:
ARCHI = foremost
TEKTON = worker
THEORY
A body of related facts or principles used to
explain a phenomenon and is the basis for
future action.
PRIMARY ELEMENTS OF DESIGN
POINT
LINE
PLANE
VOLUME
PRIMARY ELEMENTS OF DESIGN
POINT
INDICATES A POSITION IN SPACE
PRIMARY ELEMENTS OF DESIGN
LINE
A POINT EXTENDED WITH THE PROPERTIES OF:
LENGTH, DIRECTION, POSITION
1D
PRIMARY ELEMENTS OF DESIGN
PLANE
A LINE EXTENDED WITH THE PROPERTIES OF:
LENGTH & WIDTH, SHAPE, SURFACE,
ORIENTATION, POSITION
2D
PRIMARY ELEMENTS OF DESIGN
VOLUME
A PLANE EXTENDED WITH PROPERTIES OF
LENGTH, WIDTH & DEPTH, FORM & SPACE,
SURFACE, ORIENTATION, POSITION
3D
FORM
DENOTES THE FORMAL STRUCTURE OF A WORK –
THE MANNER OF ARRANGING AND
COORDINATING THE ELEMENTS AND PARTS OF A
COMPOSITION SA AS TO PRODUCE A
COHERENT IMAGE
REFERENCE TO BOTH INTERNAL STRUCTURE AND
EXTERNAL OUTLINE AND THE PRINCIPLE THAT
GIVES UNITY TO THE WHOLE
PROPERTIES OF FORM
SHAPE
SIZE
COLOR
TEXTURE
POSITION
ORIENTATION
VISUAL INERTIA
PROPERTIES OF FORM
SHAPE
THE CHARACTERISTIC OUTLINE OR SURFACE
CONFIGURATION OF A PARTICULAR FORM
PRINCIPAL ASPECT BY WHICH WE IDENTIFY &
CATEGORIZE FORMS
PROPERTIES OF FORM
SIZE
THE PHYSICAL DIMENSIONS OF LENGTH, WIDTH AND
DEPTH OF A FORM
PROPERTIES OF FORM
COLOR
A PHENOMENON OF LIGHT AND VISUAL PEREPTION
THAT MAY BE DESCRIBED IN TERMS OF AN
INDIVIDUAL’S PERCEPTION OF HUE, SATURATION
AND TONAL VALUE
ATTRIBUTE THAT CLEARLY DISTINGUISHES A FORM
FROM ITS ENVIRONMENT
ALSO AFFECTS THE VISUAL WEIGHT OF A FORM
PROPERTIES OF FORM
TEXTURE
THE VISUAL AND ESPECIALLY TACTILE QUALITY
GIVEN TO A SURFACE BY THE SIZE, SHAPE,
ARRANGEMENT AND PROPORTIONS OF THE PARTS
DETERMINES THE DEGREE TO WHICH THE SURFACES
OF A FORM REFLECT OR ABSORB INCIDENT LIGHT
PROPERTIES OF FORM
POSITION
THE LOCATION OF A FORM RELATIVE TO ITS
ENVIRONMENT OR THE VISUAL FIELD WITHIN WHICH
IT IS SEEN
PROPERTIES OF FORM
ORIENTATION
THE DIRECTION OF A FORM RELATIVE TO THE
GROUND PLANE, THE COMPASS POINTS, OTHER
FORMS, OR TO THE PERSON VIEWING THE FORM
PROPERTIES OF FORM
VISUAL INERTIA
THE DEGREE OF CONCENTRATION AND STABILITY OF
A FORM
DEPENDS ON ITS GEOMETRY, ORIENTATION RELATIVE
TO THE GROUND PLANE, PULL OF GRAVITY AND
OUR LINE OF SIGHT
TRANSFORMATION OF FORM
DIMENSIONAL TRANSFORMATION
SUBTRACTIVE TRANSFORMATION
ADDITIVE TRANSFORMATION
TRANSFORMATION OF FORM
DIMENSIONAL TRANSFORMATION
ALTERING ONE OR MORE OF ITS DIMENSTINS AND
STILL RETAIN ITS IDENTITY AS A MEMBER OF A FAMILY
OF FORMS
TRANSFORMATION OF FORM
SUBTRACTIVE TRANSFORMATION
SUBTRACTING A PORTION OF ITS VOLUME
TRANSFORMATION OF FORM
ADDITIVE TRANSFORMATION
ADDITION OF ELEMENTS TO ITS VOLUME
SPATIAL RELATIONSHIPS
SPACE WITHIN A SPACE
INTERLOCKING SPACES
ADJACENT SPACES
SPACES LINKED BY A COMMON SPACE
SPATIAL RELATIONSHIPS
SPACE WITHIN A SPACE
A SPACE CONTAINED WITHIN THE VOLUME OF A
LARGER SPACE
SPATIAL RELATIONSHIPS
INTERLOCKING SPACES
THE FIELD OF A SPACE MAY OVERLAP THE VOLUME
OF ANOTHER SPACE
SPATIAL RELATIONSHIPS
ADJACENT SPACES
TWO SPACES MAY ABUT EACH OTHER OR SHARE A
COMMON BORDER
SPATIAL RELATIONSHIPS
SPACES LINKED BY A COMMON SPACE
TWO SPACES MAY RELY ON AN INTERMEDIARY
SPACE FOR THEIR RELATIONSHIP
SPATIAL ORGANIZATIONS
CENTRALIZED
LINEAR
RADIAL
CLUSTERED
GRID
SPATIAL ORGANIZATIONS
CENTRALIZED
A CENTRAL DOMINANT SPACE ABOUT WHICH A
NUMBER OF SECONDARY SPACES ARE GROUPED
SPATIAL ORGANIZATIONS
LINEAR
A CENTRAL DOMINANT SPACE ABOUT WHICH A
NUMBER OF SECONDARY SPACES ARE GROUPED
SPATIAL ORGANIZATIONS
RADIAL
A CENTRAL SPACE FROM WHICH LINEAR
ORGANIZATIONS OF A SPACE EXTEND IN A RADIAL
MANNER
SPATIAL ORGANIZATIONS
CLUSTERED
SPACES GROUPED BY PROXIMITY OR THE SHARING
OF A COMMON VISUAL TRAIT OR RELATIONSHIP
SPATIAL ORGANIZATIONS
GRID
SPACES ORGANIZED WITHIN A FIELD OF A
STRUCTURAL GRID OR OTHER 3D FRAMEWORK
CIRCULATION ELEMENTS
APPROACH
- THE DISTANT VIEW
ENTRANCE
- FROM OUTSIDE TO INSIDE
CONFIGURATION OF THE PATH
- THE SEQUENCE OF SPACES
CIRCULATION ELEMENTS
APPROACH
a) FRONTAL – LEADS DIRECTLY TO THE ENTRANCE OF A
BUILDING ALONG A STRAIGHT PATH
b) OBLIQUE – ENHANCES THE EFFECT OF PERSPECTIVE
ON THE FRONT FACADE AND FORM OF A BUILDING
c) SPIRAL – PROLONGS THE SEQUENCE OF THE
APPROACH AND EMPHASIZES THE 3D FORM OF A
BUILDING AS WE MOVE ALONG ITS PERIMETER
CIRCULATION ELEMENTS
ENTRANCE
ESTABLISHING A REAL OR IMPLIED PLANE
PERPENDICULAR TO THE PATH OF THE APPROACH
a) MAY BE A PASSAGE THRU AN IMPLIED PLANE
b) CHANGE IN LEVEL
c) OPENING IN A WALL
CIRCULATION ELEMENTS
CONFIGURATION OF THE PATH
a) LINEAR
b) RADIAL
c) SPIRAL
d) GRID
e) NETWORK
f) COMPOSITE
PATH-SPACE RELATIONSHIPS
PASS BY SPACES
PASS THROUGH SPACES
TERMINATE IN A SPACE
PATH-SPACE RELATIONSHIPS
PASS BY SPACES
INTEGRITY OF EACH SPACE IS MAINTAINED
CONFIGURATION OF A PATH IS FLEXIBLE
MEDIATING SPACES CAN BE USED TO LINK THE PATH
WITHIN SPACES
PATH-SPACE RELATIONSHIPS
PASS THROUGH SPACES
THE PATH MAY PASS THROUGH A SPACE AXIALLY,
OBLIQUELY OR ALONG ITS EDGE
IN CUTTING THROUGH A SPACE, THE PATH CREATES
PATTERNS OF REST AND MOVEMENT WITHIN IT
PROPORTION
DIMENSIONAL RELATIONSHIPS OF ELEMENTS
OF AN ARCHITECTURAL DESIGN TO EACH
OTHER AND TO THE WHOLE
TYPES OF PROPORTION
ABSOLUTE PROPORTION
- DIMENSIONS OF ELEMENTS ARE RELATED TO
THE WHOLE DESIGN
RELATIVE PROPORTION
- DIMENSIONS OF ELEMENTS ARE RELATED TO
DIMENSIONS OF OTHER ELEMENTS
TYPES OF PROPORTION
THEORIES OF PROPORTION
GOLDEN SECTION
CLASSICAL ORDERS
RENAISSANCE THEORIES
MODULOR
KEN
ANTHROPOMETRY
THEORIES OF PROPORTION
GOLDEN SECTION
THE ORIGINAL ORGANIZING AND PROPORTIONING
METHOD OR FORMULA FOR ART AND
ARCHITECTURE
PROPORTION OF 1 : 1.618
THEORIES OF PROPORTION
NAUTILUS SHELL
THEORIES OF PROPORTION
GOLDEN SECTION
THEORIES OF PROPORTION
GOLDEN SECTION
THEORIES OF PROPORTION
CLASSICAL ORDERS
PRINCIPLE OF USING THE DIAMETER OF COLUMNS
AS THE BASIS FOR PROPORTION
THEORIES OF PROPORTION
RENAISSANCE THEORIES
REGULATING LINES
PRINCIPLE OF USING RATIOS AS A MEANS OF
CONSTRUCTING AN ORDERED GEOMETRY IN A
BUILDING, MOST VISIBLY IN ELEVATION, BUT ALSO IN
PLAN AND SECTION
a) ARITHMETIC
b) GEOMETRIC
c) HARMONIC
THEORIES OF PROPORTION
RENAISSANCE THEORIES: RATIO
ratio of 1:2, 2:3, or 3:4 is ratio of 5:6 or 4:5
applied to buildings or Andrea Palladio
rooms
THEORIES OF PROPORTION
RENAISSANCE THEORIES: REGULATING LINES
Basilica di Sant’ Andrea (Mantua, Italy)
Leon Battista Alberti
THEORIES OF PROPORTION
MODULOR
BASED ON BOTH MATHEMATICS (THE AESTHETIC
DIMENSIONS OF THE GOLDEN SECTION & THE
FIBONACCI SERIES) AND THE PROPORTIONS OF THE
HUMAN BODY (FUNCTIONAL DIMENSIONS)
BASED ON APPARENTLY ARBITRARY PROPORTIONS
OF AN "IDEAL MAN” (PROBABLY LE CORBUSIER
HIMSELF)
THEORIES OF PROPORTION
MODULOR
THEORIES OF PROPORTION
KEN
A LINEAR UNIT FOR
REGULATING THE
COLUMN SPACING IN
TRADITIONAL JAPANESE
CONSTRUCTION, INITIALLY
SET AT 6 FT OR 1.8 METERS,
BUT LATER VARYING
ACCORDING TO ROOM
WIDTH AS DETERMINED BY
TATAMI UNITS
1 TATAMI MAT = 0.9 X
1.8m OR 3 X 6ft
THEORIES OF PROPORTION
KEN
A possible layout of a
4-1/2 mat room.
THEORIES OF PROPORTION
KEN
THEORIES OF PROPORTION
ANTHROPOMETRY
FROM THE GREEK WORDS
ANTHRO = MAN
POMETRIC = MEASURE
MEASUREMENT AND STUDY OF THE SIZE AND
PROPORTIONS OF THE HUMAN BODY
FUNCTIONAL RATIO
THEORIES OF PROPORTION
ANTHROPOMETRY
SCALE
A SYSTEM OF ORDERED MARKS LAID
DOWN AT KNOWN INTERVALS AND USED
AS A STANDARD REFERENCE IN
MEASURING
REFERS TO HOW WE PERCEIVE OR JUDGE
THE SIZE OF SOMETHING IN RELATION TO
SOMETHING ELSE
DIMENSIONAL RELATIONSHIPS OF
ELEMENTS OF AN ARCHITECTURAL DESIGN
TO A STANDARD, USUALLY HUMAN
DIMENSIONS
SCALE
FACTORS THAT AFFECT PERCEPTION OF SCALE
ASSOCIATION WITH NATURE
POSITION IN SPACE RELATIVE TO THE OBJECT
EXPERIENCES
VALUES
SCALAR SEQUENCES
ECONOMICS
TYPES OF SCALE
MECHANICAL SCALE
VISUAL SCALE
HUMAN SCALE
TYPES OF SCALE
MECHANICAL SCALE
- THE SIZE OR PROPORTION OF SOMETHING
RELATIVE TO AN ACCEPTED STANDARD OF
MEASUREMENT
TYPES OF SCALE
VISUAL SCALE
- THE SIZE OR
PROPORTION AN
ELEMENT APPEARS
TO HAVE RELATIVE
TO OTHER ELEMENTS
OF KNOWN OR
ASSUMED SIZE
TYPES OF SCALE
HUMAN SCALE
- BASED ON THE DIMENSIONS AND
PROPORTIONS OF THE HUMAN BODY
TYPES OF SCALE
HUMAN SCALE
TYPES OF SCALE
HUMAN SCALE
TYPES OF SCALE
HUMAN SCALE
TYPES OF SCALE
HUMAN SCALE
PRINCIPLES OF DESIGN
CONTRAST
HIERARCHY
PROPORTION
BALANCE
RHYTHM
CHARACTER
DATUM
PRINCIPLES OF DESIGN
CONTRAST
JUXTAPOSITION OF ELEMENTS IN A DESIGN TO
INTENSIFY EACH ELEMENT’S PROPERTIES
a) CONTRAST OF LINE
b) CONTRAST OF FORM
c) CONTRAST OF MASS
d) CONTRAST OF COLOR
e) CONTRAST OF CHARACTER
PRINCIPLES OF DESIGN
CONTRAST: CONTRAST OF LINE
PRINCIPLES OF DESIGN
CONTRAST: CONTRAST OF FORM
PRINCIPLES OF DESIGN
CONTRAST: CONTRAST OF COLOR
PRINCIPLES OF DESIGN
CONTRAST: CONTRAST OF CHARACTER
PRINCIPLES OF DESIGN
HIERARCHY
DIFFERENCE IN THE DEGREE OF IMPORTANCE OF
FORMS AND SPACES
VISUAL EMPHASIS CAN BE ACHIEVED BY:
a) EXCEPTIONAL SIZE
b) UNIQUE SHAPE
c) STRATEGIC LOCATION OR PLACEMENT
PRINCIPLES OF DESIGN
HIERARCHY: SIZE
PRINCIPLES OF DESIGN
HIERARCHY: SHAPE
PRINCIPLES OF DESIGN
HIERARCHY: PLACEMENT
PRINCIPLES OF DESIGN
BALANCE
- THE PLEASING OR HARMONIOUS ARRANGEMENT
OR PROPORTION OF PARTS OR ELEMENTS IN A
DESIGN OR COMPOSITION
- DISTRIBUTION OF VISUAL WEIGHT
PRINCIPLES OF DESIGN
BALANCE
a) SYMMETRICAL BALANCE
b) UNSYMMETRICAL BALANCE
PRINCIPLES OF DESIGN
BALANCE: SYMMETRICAL BALANCE
PRINCIPLES OF DESIGN
BALANCE: ASSYMMETRICAL BALANCE
PRINCIPLES OF DESIGN
RHYTHM
- PATTERNED REPETITION OF ELEMENTS OF A DESIGN
AT REGULAR OR IRREGULAR INTERVALS IN THE SAME
OR MODIFIED FORM
PRINCIPLES OF DESIGN
CHARACTER
-
CHROMATIC ENERGY OF DESIGN
COLOR
- QUALITY OF APPEARANCE OF A DESIGN WITH
RESPECT TO ITS REFLECTED LIGHT USUALLY
DETERMINED BY MEASUREMENT OF HUE, SATURATION
AND VALUE
CHROMATIC ENERGY OF DESIGN
COLOR
a) HUE – THE COLOR
ITSELF IN PUREST FORM
b) SATURATION /
INTENSITY/ CHROMA-
PURITY OR VIVIDNESS
OF A HUE, HOW MUCH
OR HOW LITTLE GRAY
A COLOR CONTAINS
c) VALUE – LIGHTNESS OR
DARKNESS
CHROMATIC ENERGY OF DESIGN
MONOCHROMATIC COLOR SCHEME
USES VARIATIONS IN LIGHTNESS AND SATURATION OF
A SINGLE COLOR
LOOKS CLEAN AND ELEGANT, SOOTHING EFFECT
CHROMATIC ENERGY OF DESIGN
ANALOGOUS
COLOR SCHEME
COLORS THAT ARE
IN CLOSE PROXIMITY
TO EACH OTHER ON
THE COLOR WHEEL
THAT SHARE SIMILAR
HUE AND
SATURATION
MOST OFTEN USED
TO ACHIEVE PROPER
COLOR HARMONY.
CHROMATIC ENERGY OF DESIGN
COMPLEMENTARY
COLOR SCHEME
MADE OF TWO
COLORS THAT ARE
OPPOSITE EACH
OTHER ON THE
COLOR WHEEL
INTRINSICALLY
HIGH-CONTRAST
AND DRAWS
MAXIMUM
ATTENTION
CHROMATIC ENERGY OF DESIGN
SPLIT
COMPLEMENTARY
COLOR SCHEME
VARIATION OF THE
STANDARD
COMPLEMENTARY
SCHEME. IT USES A
COLOR AND THE TWO
COLORS ADJACENT TO
ITS COMPLEMENTARY.
PROVIDES HIGH
CONTRAST WITHOUT
THE STRONG TENSION
OF THE
COMPLEMENTARY
SCHEME
CHROMATIC ENERGY OF DESIGN
TRIADIC COLOR
SCHEME
USES THREE COLORS
EQUALLY SPACED
AROUND THE COLOR
WHEEL
OFFERS STRONG
VISUAL CONTRAST
WHILE RETAINING
BALANCE, AND
COLOR RICHNESS
CHROMATIC ENERGY OF DESIGN
TETRADIC COLOR
SCHEME OR DOUBLE
COMPLEMENTARY
SCHEME
RICHEST OF ALL THE
SCHEMES BECAUSE IT
USES FOUR COLORS
ARRANGED INTO
TWO
COMPLEMENTARY
COLOR PAIRS
CHROMATIC ENERGY OF DESIGN
COLOR TEMPERATURE
WARM COLORS
RED, ORANGE AND
YELLOW
ASSOCIATED WITH THE
WARMTH OF FIRE AND
SUN
COOL COLORS
BLUE, GREEN, AND
VIOLET
CONNECT IN THE MIND'S
EYE WITH THE COOLNESS
OF SEA, SKY, AND
FOLIAGE.
PROXEMICS
The study of the symbolic and
communicative role of the spatial
separation individuals maintain in various
social and interpersonal situations, and how
the nature and degree of this spatial
arrangement relates to environmental and
cultural factors
PROXEMICS
SOCIO-PETAL SPACE
TRIGGERS
BEHAVIORS THAT
GATHER PEOPLE
TOGETHER
SOCIO-FUGAL SPACE
TRIGGERS
BEHAVIORS THAT
SEPARATE PEOPLE
PROXEMICS
PRIVACY
THE ABILITY OF AN INDIVIDUAL OR GROUPS
OF INDIVIDUALS TO CONTROL THEIR
VISUAL, AUDITORY, OLFACTORY
INTERACTIONS WITH OTHERS
THE ABILITY TO HAVE OPTIONS AND TO
ACHIEVE DESIRED LEVEL OF INTERACTIONS
PROXEMICS
KINDS OF PRIVACY
a) SOLITUDE: STATE OF BEING FREE FROM
OBSERVATION BY OTHERS
b) INTIMACY: STATE OF BEING WITH ANOTHER
PERSON BUT FREE FROM THE OUTSIDE WORLD
c) ANONYMITY: STATE OF BEING UNKNOWN EVEN
IN A CROWD
d) RESERVE: STATE IN WHICH A PERSON EMPLOYS
PSYCHOLOGICAL BARRIERS TO CONTROL
UNWANTED INTRUSIONS
PROXEMICS
CROWDING
ASSOCIATED WITH A FEELING OF LACK OF
CONTROL OVER THE ENVIRONMENT
LEADS TO NEGATIVE BEHAVIOR BECAUSE THEY
ARE RELATED TO SOCIAL OVERLOAD
RESULTS FROM OVERMANNING OF BEHAVIOR
SETTINGS
PROXEMICS
DESIGN IMPLICATIONS
NEED FOR PRIVACY
GREATER FOR INTROVERTS
THAN FOR EXTROVERTS
EXTROVERTS LIKE
CONTRAST WITH THE
ENVIRONMENT
INTROVERTS LIKE
COURTYARDS
PROXEMICS
DESIGN IMPLICATIONS
EXTROVERTS LIKE
STRONG CENTRAL
PLANS
INTROVERTS LIKE
COMPLEX INTERNAL
RELATIONSHIPS AND
CLEAR TERRITORIAL
PATTERNS
PEOPLE UNDER STRESS
NEED MORE PRIVACY
FOR WORKPLACES
SPACES
PERSONALIZATION
STAKING CLAIMS TO PLACES
MANIFESTATION OF DESIRE
FOR CONTROL AND
EXPRESSION OF AESTHETIC
TASTES
EFFORT TO MAKE AN
ENVIRONMENT FIT ACTIVITY
BETTER
DONE FOR PSYCHOLOGICAL
SECURITY
SPACES
TERRITORIALITY
A DELIMITED SPACE
THAT A PERSON OR
A GROUP USES AND
DEFENDS AS AN
EXCLUSIVE PRESERVE
INVOLVES
PSYCHOLOGICAL
IDENTIFICATION WITH
A PLACE
SPACES
BASIC CHARACTERISTICS OF TERRITORIES
OWNERSHIP OF AND RIGHTS TO A PLACE
PERSONALIZATION OF MARKING OF AN AREA
DEFENSE AGAINST INTRUSIONS
SERVE FUNCTIONS RANGING FROM PHYSIOLOGICAL
TO SELF-ACTUALIZATION
THEORIES OF PERCEPTION
COGNITION
THE MENTAL PROCESS BY WHICH
KNOWLEDGE IS ACQUIRED
SYMBOLS
SOMETHING THAT REPRESENTS SOMETHING
ELSE BY ASSOCIATION, RESEMBLANCE, OR
CONVENTION
SEMIOTICS
THE SCIENCE OF SIGNS
THEORY OF NEEDS
MASLOW’S HIERARCHY OF NEEDS
PEOPLE MAKE CHOICES ACCORDING TO DIFFERENT
LEVELS OF NEEDS
Affiliation
BEHAVIOUR SETTINGS
THEORIZED ENTITIES THAT HELP EXPLAIN THE
RELATIONSHIP BETWEEN INDIVIDUALS AND THE
ENVIRONMENT - PARTICULARLY THE SOCIAL
ENVIRONMENT.
BEHAVIOUR SETTINGS
STABLE COMBINATIONS OF ACTIVITY AND
PLACE CONSISTING OF:
a) A STANDING PATTERN OF BEHAVIOR (SPB)
b) A MILIEU OR ENVIRONMENT/ PHYSICAL SUPPORT
c) A RELATIONSHIP BETWEEN THE SPB AND MILIEU
d) A SPECIFIC TIME PERIOD
BEHAVIOUR SETTINGS
RATIONALE FOR DESIGNING SPACES
TO PROVIDE FOR SOME EXISTING OR POTENTIAL SET
OF HUMAN ACTIVITIES.
GROSS
GENERAL SPECIFIC
NEED MOTOR
ACTIVITY ACTIVITY
ACTIVITY
Self- Esteem Study Read Sit/ Hold a book
Social Acceptance Interaction Attend Party Dance
DESIGN STAGES
a) INITIATION: PROJECT IDENTIFICATION
b) PREPARATION: COLLECTION AND ANALYSIS
OF INFORMATION
c) PROPOSAL-MAKING: SYNTHESIS, BRINGING
TOGETHER A VARIETY OF CONSIDERATIONS
d) EVALUATION: BASED ON GOALS
e) ITERATION: CYCLES, FEEDBACK
ARCHITECTURAL PROGRAMMING
PROCESS OF MANAGING INFORMATION
THE GATHERING, ORGANIZING, ANALYZING,
INTERPRETING AND PRESENTING OF THE
INFORMATION RELEVANT TO A DESIGN
PROJECT
ARCHITECTURAL PROGRAMMING
TWO DIVISIONS OF A PROGRAM:
a) ISSUE-BASED PROGRAM: ANALYSIS OF THE
EXISTING STATE
b) REQUIRED STATE PROGRAM: PROJECTION OF
WHAT THE FUTURE STATE SHOULD BE
ARCHITECTURAL PROGRAMMING
PARTS OF AN ISSUE-BASED PROGRAM
ARCHITECTURAL PROGRAMMING
PARTS OF A REQUIRED STATE PROGRAM
a) THE DESIGN PHILOSOPHY
b) THE DESIGN PROBLEM
c) THE OVERALL CONCEPT AND CONCEPT
BREAKDOWN
d) THE TRANSLATION GUIDELINES
