University of Santo Tomas  Conceptually his main aim was to express the his
College of Architecture
Theory of Architecture 2
WHAT ARE CONCEPTS?
 Concepts are a set of rules or guidelines that we
establish for ourselves to help us remain consistent and
productive
 Not as rigid as a plot or a business plan, but they do
involve a vision of the challenges ahead
 A painting by Caravaggio: “ Supper at Emmaus”
 Caravaggio had a noteworthy ability to express in
one scene of unsurpassed vividness the passing of a
crucial moment.
 The Supper at Emmaus depicts the recognition of
Christ by his disciples: a moment before he is a
fellow traveler, mourning the passing of the
Messiah, as he never ceases to be to the inn-
keeper’s eyes, the second after, he is the Saviour.
 Concepts are also about intentions that seek a result
that is poetic, lasting and memorable
 In this sense concepts are not simply about a resolution
of a functional matrix of adjacencies.
 Eiffel Tower: Gustave Eiffel
 The tower is currently painted a shade of brownish-
gray in three different colors in order to make it
look the same color.
 The colors change from dark to light from top to
bottom, but it looks the same because of the
background (the sky being light and the ground
being dark.
WHY ARE CONCEPTS NECESSARY?
 More than any other artistic endeavor, the design fields
depend on concepts for the reason that they take up a
lot of resources: money, personnel, materials etc.
 It requires a concept to justify the expenditure of all
these resources and more
 Sydney Opera House:
 Jorn Utzon
 Issues such as structural, construction, materials,
supervision, financing, and politics hampered this
architectural marvel.
 Because the design fields are very much about making
possible a space or an environment for fellow humans.
 It is important to articulate what that environment will
look like and mean at the outset of the job
 Seattle Public Library:
 Rem Koolhaas
 "The stacks, arranged along a continuous spiral
ramp contained within a four-story slab, reinforce a
sense of a world organized with machine-like
precision."
 Because they help us defend a result that is unfamiliar
to those who hire us.
 By providing a reason for the efforts and product that
we put forth, the public is more likely to accept non-
mainstream expressions
 Clinton Presidential Library by : James
Polshek Architects
 Concepts are first and foremost the product of
limitations, which can be translated to mean obstacles,
be they, political, environmental, economic or spatial .
 Once the limitations are defined and understood, the
designer goes on to work with the appropriate
metaphor, scale, form, material.
 The product is the outcome of having eked out a
response to the limitations.
 University of Virginia: Thomas
 To design the plan of DC, Pierre Jefferson
 L’Enfant looked to his predecessors in France for
help
 He needed a plan that would bind the various
components of the government into a singular
relationship
 The grid was not sufficient enough for the reason
that it had no sense of beginning or end
 The system of diagonal lines with nodes every so
often gave DC a degree of hierarchy between
government functions and in the process gave those
functions important vistas in the city
 In Villa Savoye Corbusier sought to put in real
material terms his need to express the spirit of the
age that one lives in.
age,1929, was beginning to defy gravity and
location.
 This was the age of the car and the idea that we are
constantly on the move
 In lifting the villa above ground and in favoring the
horizontal window over the vertical he first wanted
to free the architecture from the site and second to
wash away the effect of structure
 As the National Gallery is in DC and in an
important moment in the city’s plan, I.M.Pei was
careful to work with a concept that would make out
of his architecture a unity between exterior and
interior, city scale and room scale.
 On the inside the materials were chosen to reflect
the facades of the city, thereby folding the
experience of walking on the sidewalk inside
 The final result makes cuts out of the building in
such a way so as to continue the sweep of avenues
outside inside the building
 To speak about art and its relationship with the
city, Marcel Breuer used as a concept the inverted
pyramid
 If the pyramid had signified the relationship
between the earthly and the divine, the Whitney
signifies the same but in reverse order; art uses
divine inspiration to inform us about earthly
matters
 In the process the trapezoidal window comes to
play an important role in putting forth the idea that
between the artist and the public there is a special
perspective
 As an institution that prides itself on the study of
art and liberal studies, the Getty Center in LA is
reminiscent of ancient Greek city states and Greek
values
 And so when Richard Meier came to design a
collection of buildings for it in LA, he was quick to
use the Parthenon for his conceptual thinking
 Important about the Parthenon are the site and
how it presented a ready-made hierarchy between
two components of a single belief system.
 Perspective and how there is no one perspective
that overrides other views, order and how it
disciplines relationships
 In designing the St. Chapel of St. Ignacious Steven
Holl had to work with two restrains: budget and
space.
 To respond to these restrains he relied almost
completely on light as a way to bring meaning and
beauty to the chapel
IMPORTANCE OF CONCEPTS
 Concepts have been the designer’s way of responding
to the design situation presented in the program.
 They are derived from problem analysis or
initially prompted by it.
 They are rudimentary in character
 They both require and must embrace further
development
APPROACHES IN THE DESIGN PROCESS
 Techniques, models, paradigms, idioms and
processes for designing
 Serve as a vehicles/catalysts for improving
the effectiveness of a designer
 They broaden and deepen the designer’s
understanding of design activities
 Use to organize and present information for
designing
 To provide successful architectural solutions
NATURE OF CONCEPTS
 Although design projects may begin with a single
overall direction, any building design comes is in fact
composed of many concepts.
 Concepts may be product or process oriented
and can take place in any stage in the design
process
 Can occur in any scale
 Can be generated from several sources
 Have a hierarchal nature
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PROBLEMS IN CONCEPT GETTING Architectural Space
 SPACE-
 Building exceeds client budget  Expressive or artistic/aesthetic space- created
 Incompatible activities zoned together space to express man’s structure of his world.
 Inefficient layout o Expressive space done by builders,
 Spaces too large or cramped planners, architects, designers
 Furniture don’t fit activity patterns o Aesthetic space studied by
 Too much or too little furniture in spaces architectural theorist and
 Building won’t accommodate future growth and change philosophers
 Poorly utilized land  Architectural space- concretization of man’s
 HVAC Systems difficult to service existential space
 Oversized or undersized HVAC
 Over - designed or under - designed lighting SPACE in Architectural Theory
 Improper security provisions  Euclidian Space- three dimensional geometry
 Violation of codes and ordinances o Building systems
 Parking problems o Space frames
 Obstructed views o Utopian city planning
 Destruction of existing ecological relationships o Divisions and partitions
 Theory on the Psychology and Perception of Space
 Physical Space
CHECKLIST IN DESIGN o Fruin’s body ellipse (.29 sqm); no
touch zone ( .65 sqm); comfort
zone (1.067 sqm)
FUNCTION SPACE o Anthropometrics to ergonometrics
(activity (volume o Sensory perception
grouping required Olfactory (nose)
and zoning) by Temperature
GEOMETRY activities) (skin/feeling)
(circulation, form CONTEXT Acoustics (ears)
and image) (site and Lighting (eyes/visual)
climate)
DESIGN The Process of Space Organization
SOLUTION
ENCLOSURE  In developing a set of basic principles for the
(structure, SYSTEMS
enclosing (mechanical, production of a living architecture, the designer should
planes & electrical, etc.) think of space within a space, and not of solids in
openings ) space.
 The principles of space organization for architectural
ECONOMIC HUMAN purposes are concerned with:
(first cost FACTORS
maintenance (perception, o the use of space (utility)
cost) behavior, etc.)
service to occupants
o the collaboration of materials (strength)
permanence and security
o the contributions of aesthetics (beauty)
CONCEPT CATEGORIES
Space to space Relationships
 Functional zoning  Space within a space
 Architectural space o A set of a larger space and a secondary
 Circulation and building forms space
 Response to context  Space within a space
 Building envelope o A space/form as a free standing object
with separate functions
 Interlocking space
Functional Zoning Concepts o Interlocking portion of the volumes can
be shared by each space
Need for Adjacency o The interlocking portion can merge with
Similarity in general role one of the spaces and become an
integral part of its volume
Relatedness to Departments, Goals and Systems
o The interlocking portion can develop its
Sequence in time
own integrity that serves to link the two
Required Environment original spaces
o Furniture Types  Adjacent spaces
o Need For View o schemes in separating planes
o Need for Ceiling Height or shape  Limit visual access between two
o Special Electrical Needs spaces and accommodate their
Types of effects produced differences
o Radiation Produced  Appear as a free standing plane in a
o Smokes and Fumes single volume
o Chemicals  Be defined as a row of columns but
Characteristics of people involved allows high degree of visual and
Volume of people involved spatial continuity between two
Extent of man and machine involvement spaces
Degree of emergency or critical situations  Be merely implied with a change in
Relative of speed of respective activities level or surface articulation
Frequency of activity occurrence between two spaces
Duration of activities  Spaces linked by a common space
Anticipated growth and change o Ways of linking common space

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  Intermediate space can differ in Division of space
form and orientation to express its o Walls, Storage, counter, beams, plants, etc.
linking function o Pattern, material, color, texture
 The intermediate space can be Door placement circulation and use zones
equivalent in shape and size and Circulation as a space
forming a linear sequence of spaces o Display, visual relief
 The intermediate space as a linear o Education, Spatial Focus
form linking distant spaces o Orientation
 The intermediate can be a large o Store front
dominating space organizing a Multiuse of space
number of spaces about itself o Day-night use
 The form of the intermediate space o Different times of the day
is determined by the forms and o Different times of the year
orientation of the spaces being o Different days of the week
linked or related o Long term use-transfer
o Simultaneous use
Spatial Organization o Multi-use of parts; entrance; exterior area
o Similar use, different use
 Configuration – to form after an arrangement of parts o Similar or different people using
or a form or figures determine by the arrangement. o Zone for security, zone for HVAC
 Context- a joining together. The whole situation, o Scheduled use, free time
background or environment relevant to a particular Dealing with residual space
event, personality or creation Natural lighting
Artificial lighting
 Categories:
Roles of lighting
o Centralized- a central dominant space about
which a number of secondary spaces are
Circulation and Building Forms CONCEPTS
grouped
o Linear- a linear sequence of repetitive spaces
Circulation – movement through space
o Radial- a central space from which linear
 Can be conceived as the perceptual thread that
organizations of space extend in a radial
links the exterior/interior spaces of a structure
manner
o Clustered- spaces grouped by proximity or
Circulation Elements
the sharing of a common visual trait or
 The building approach
relationship
o Frontal
o Grid- spaces organized within a field of a
o Oblique
structural or other three dimensional grid.
o Spiral
 2. The building entrance
o From outside to inside
Architectural Space Concepts
 Implied (change of level)
 Real (pillars, gateway)
Forming space o Entrance
o Columns, Columns and Beams  Flush, Projected, Recessed
o Columns, beams and Walls
 Emphasized, Circuitous
o Walls and Floors, Wall Planes
 Centered, placed off-center
o Ceilings and Floors, Ceiling and Walls  articulated
o Exterior Walls  3. Configuration of the path (major and minor axis)
o Tress
o Linear-
o Stairs
 straight or curvilinear,
o Shelves and Furniture  segmented (intersected, have
Spatial Qualities branches)
o Static, Flowing, universal  looped
o Articulated, Stable o Radial
o Directional, oppressive o Spiral (stairs, ramps)
o Closed/open o Grid
o Compartmentalized, open o Network (random paths that connect
o Group open/closed function established points)
o Segregated, integrated o Composite (combination of the above)
o Regular, amorphous  4. Path-space relationships
o Physical, visual o Pass by spaces
o Making Spatial qualities o Path through spaces
Scale types o Terminate in a space
o Intimate  5. Form of the circulation space
o Normal o Exterior (promenade, malls)
o Monumental o Interior (Corridors, balconies, galleries,
o Shocking stairs, rooms)
Scalar sequence o Enclosed, open on one side, open on both
o Simple progression sides
o Preparation-surprise
o Constriction-relief Circulation and building form
o Transitions
Scalar flexibility  Line generated circulation
o Ceiling  Point generated circulation
o Multiple ceiling  Circulation within circulation
o Walls, floors, multiple floor  Space-circulation relationships
Tailored space o Space to circulation linkages
Anonymous Space  Side, Flanking,
Space to space relationships  over, under,
Inside outside space  diagonal, through, neck link
o Control of view
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 o Plan Concepts for Spaces of similar size and  An object or phenomenon
shape which has meaning, it evokes
 Single, double loaded emotional reaction
 Alternate, solid , void  Architectural, plumbing, electrical
 Random voids, graduated spacing  3. Expression
 Graduated distances from  Architectural expression
circulation axis  Visual expression of function
o Sections concepts for spaces of similar size
and shape Building form Concepts
o Plan Concepts for Spaces of different sizes Basic forms
and shapes o Cubes
 Zone size differences outside o Rectangular solid
 Zone size differences inside o Dome
o Sections concepts for spaces of different sizes o Truncated half dome
and shapes o Sphere
o Plan concepts for spaces of different shapes o Cylinder
o Sectional concepts for spaces of different o Half cylinder
shapes o Truncated cylinder
 Space-circulation sections o Truncated half cylinder
 Placing unique space shapes in plan o Barrel vault
 Entry points for circulation o Truncated vault
o Definition of overall circulation form o Cone
o Entry at special points on circulation shape o Half cone
o Entry definition by space, size, shape and o Truncated cone
placement o Pyramid
 Placing vertical circulation at unique points in plan o Truncated pyramid
o Locate at joints in circulation patterns o Prism
o Ends of circulation o Truncated prism
o Centers, corners, entry points o Irregular prism
 Movement systems Grouping of forms by qualities
o Systems may occur in plan and section o By size, proportion, and shape
o Simple sequence Specific form to form relationships
o Multiple parallel sequences o Faces to faces
o Multiple destinations o Corners to corners
o Grouped origins o Edges to edges
o Main sequences feeding other sequences\ o Centers to centers
o Converging diverging Achieving visual interest
o Main sequence and feeders o Solid-void
o Simple closed loop o Proportion
o Feed back loops o Spatial pause around focus
o Main process and sub-processes o Backdrop
 Routing systems through buildings o Aim at focus
o Hollow columns outside o Shape
o Hollow columns inside o Position
o Shafts inside o Size
o Shafts outside o Progression
o Systems rooms on floors o Texture
o Entire floors given to systems o Scoring
o Adjacent systems building o Material
o Interstitial space between floors o Level
o Group shafts penetration o Orientation
o Through structure o Landscaping
o Use room soffit o Paving pattern
o Above, below hallways Building images in plan
o Roof tunnels, tunnels Building images in elevation
o Integrate with windows
o Hollow walls
o dropped or exposed ceiling
o raised floor
References:
Building Form  Concept Sourcebook by Edward T. White
 Semantics-the study of meanings  Architectural Graphics Standards
 Architectural semantics-architectural meanings  The World of Contemporary Architecture 2000
 Signals and signs
 1.Signs
 Three types of signs Prepared by:
 Indexial sign- a relation
between a signifier and the ARCH. WILLA R. SOLOMON
signified (arrows indicate
direction)
 Iconic signs – a sign which
refer to an object denoted by a
characteristics
 Symbolic signs-arbitrary
relation between the signifier
and the signified (associated)
 2. Symbols
 Symbolism-
 basic strategy of perception
based on learning and heredity