DICTUM OF THE GREAT ARCHITECTS

Do not try to teach design. Teach Principles

-Frank Lloyd Wright

Through the channel of my painting I arrived arrived at my architecture-Le Corbusier

I dont believe in principles. I am a whore. And I am paid very well for designing high rise building-Philip
Johnson
To be original is to return to origin-Antonio Gaudi
To build is to create events.-Walter Gropius
Architecture as an index to a period We are looking for the reflection in architecture of progress our own
period, it gives us an insight into this process, it is product of all short of factors-social, economical,
scientific, technical, ethological. S. Giedion

The Study of architecture is always oriented towards two poles:

1. Towards seeing objects for the purpose of creation
2. Towards creating objects for the purpose of seing

TRADITIONAL
-Traditionally building ideas relate to spiritual values and concepts and materials are natural and
dependent upon the architects ingenuity to mould locally available materials into shapes, surfaces and
fittings. Traditional architecture symbolizes creation. Numbers, shapes, location all have significance in
traditional design. Function follows Form was the traditional dictum.
MODERN
-Modern architecture ideas more in the worlds of the physical and the mental being. The roots of modern
architecture concentrated on the physical aspects of humanity and a pragmatic vision for architecture. By
removing decoration, extra space, complex detailing modern design made buildings cheaper but many
argue it has also made buildings lose spiritual content and contact. Form follows Function was the modern
dictum.
Viollet le duc sees architecture from two different aspects:

Theory- which deals with that which is permanent and always valid, notably the rules of art and
laws of statics
Practice which seeks to adapt these eternal laws to the variable conditions of time and space

The practice of architecture is a multi-disciplinary profession integrating the skills of mathematics, science,
art, technology, social sciences, politics, history, geography and philosophy.

PHILOSOPHY
Ii is the philosophy of the practice that defines the rationale by which they produce particular
solutions to definitive problems. Rationalism, empiricism, structuralism, post-modernism, deconstructivism
structuralism and phenomenology are some directions from philosophy influencing architecture.

The basic requirements of a structures include shelter and arrangement of space, both of which are
utilitarian. The additional feature provided by architectural designs is that of aesthetics, the expression of
the building.

UTILITARIAN= shelter, arrangement of space

EXPRESSION OF BUILDING= aesthetics
All three items; shelter, arrangement and aesthetics must be seamlessly integrated in order to achieve a
successful architectural solution.

What is Architecture Design?

The word DESIGN is used both as a noun and a verb.
As a verb, to design means to create or develop a plan for a product, structure, system, or component.
As a noun, a design is used for either the final (solution) plan or the result of implementing that plan.
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The plan in this case is usually a drawing, a model or a description of the final product.

What is Architecture?- Form, Function, Materialization

What we have learned about form, function and materialization.
FORM- seeking geometrical order and expression of formal qualities

In specific, formal and spatial aesthetics seek to establish a coherent unit by means of a
particular formal and spatial configuration and is rooted in our perception.
When establishing formal/spatial aesthetic goals, we are left to find our way between perfect
order and total chaos, which are equally difficult situations for a long period.

Here are some aesthetics goals we want to consider in our particular designs:

FUNCTION- seeking adequate performance and expression of spaces

Seeking adequate performance and expression of spaces

MATERIALIZATION- seeking adequate performance and expression of material elements

Design is a balancing act: wishing versus needing
-

The materialization of the enclosure is the creation of the physical shell around the building
spaces.
This materialization is concerned with the relationships between:
The enclosing planes

the openings
and the elements of the structure

Architect must be fully aware of the nature of the relationship between technical and aesthetic issues:

Steel this is a high strength material (the strongest). Steel is used for the tallest buildings and the longest
spans: skeleton frames, portal frames, horizontal or curved trusses, space frames and tensile structures.
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openness, celebration of technology, cold, temporal, lightness

Reinforced concrete reinforced concrete is used for load-bearing walls (blocks), skeleton frames (beams
and columns), arches, vaults, domes, folded roofs and shells
-

freedom, stability, permanency, solidity

Masonry Bricks is use for small and medium spans in the form of a load-bearing walls (vertical elements)
and for arches, vaults and domes (horizontal elements)
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warm, heaviness, permanency, craftmanship

Timber (wood) timber has been used as horizontal elements (floor or roofs) of post and beam structures
when vertical elements are made out of masonry or timber framing. As sloping roofs by using systems of
rafters as well a systems of truss and purlins of different shapes. As skeleton frames, and for large spans
as portal frames, domes, vaults, folded roofs and shell forms.
-

Natural, organic, warm

Design is the balancing act: wishing versus needing

DESIGN OBJECTIVES must be achieved: formal expression, quality of spaces, and expression of materials
But the discipline imposed by requirements and constraints must be respected: functional requirements,
site constraints includes size and shape of the site
After the study of the design task, the designer will prepare a list of constraints and a list of requirements
Constraints are the limitations imposed to the design task
Requirements are all the needs and demands that the project must satisfy.
In an architectural project, for example, the site will impose constraints and the briefing will determine the
functional requirements

The expression of the architectural composition can also be stated as a requirements the designer
establishes this expression as part of his own agenda of requirements.

IDEAS

Unify parts into a totality

Bring organization
Geometrical organization
Spatial organization
Functional organization
Dimensional organization
Organization of material systems

Organization of symbols and meaning systems

Are born from associations and the use of metaphors

Inferring a prime design idea: using metaphors with a humanistic approach

A more humanistic approach to the use of metaphors may focus, but not exclusively, on any of the
following:
1. Altering the way people do things
Improving the understanding of human activities
2. Using nature for new advantages

 Climate and nature are source of inspiration (wind, water, breeze, light)
3. Humanizing building with growing things
Plants
4. Providing an exciting perceptual experience within interior spaces
Application of hierarchy for differentiating enclosed spaces: different size, different shape,
and different points of interest.
Playing with different levels of enclosure: private to public. Close to open, transitional
changes
Circulation can be accentuated: corridors, ramps, staircase can be subjects of special formal
treatment
Playing with light: changes in natural light during the day, special illumination in the evening
Providing interesting views: bring the nature in , expose interesting elements that do not
belong inside
THEORY OF CONTRAST FOR AIDING DESIGN

Uniformity
- Is regarded as not changing in for form or character, remaining always the same
- Visual harmony can be reached through uniformity but it can also lead towards monotony and
dullness

Contrast
- Means to set in opposition to emphasize the
differences
- The first condition for a successful contrast is that
the contrasting parts
are sufficiently different (opposites) so a dialogue between the two parts can be established; the
second condition is that these opposites are linked to each other by a transition element or a
joint

There are virtually no other

of opposition may take so many different forms
There can be contrast in any of the visual elements:

rules for achieving contrast, the nature

The expression of a form is accentuated by its opposite