ARCH 501-1 THEORY OF ARCHITECTURE - 03 Design Perception

Space

Three-dimensional field in which objects and events occur and have relative position and direction, especially a portion of that field set apart in a given instance or for a particular purpose.

Space Within A Space

In this type of spatial relationship, the larger, enveloping space serves as a three-dimensional field for the smaller space contained within it.

Interlocking Spaces

Results from the overlapping of two spatial fields and the emergence of a zone of shared space.

Adjacent Spaces

Most common type of spatial relationship. Allows each space to be clearly defined and to respond, each in its own way, to specific functional or symbolic requirements.

Spaces Linked By A Common Space

Two spaces that are separated by distance can be linked or related to each other by a third, intermediate, space.

Centralized Spatial Organization

A stable, concentrated composition that consists of a number of secondary spaces grouped around a large, dominant, central space.

Linear Spatial Organization

Consists essentially of a series of spaces. These spaces can either be directly related to one another or be linked through a separate and distinct linear space.

Radial Spatial Organization

Combines elements of both centralized and linear organizations. It consists of a dominant central space from which a number of linear organizations extend in a radial manner.

Pinwheel Pattern

Specific variation of a radial organization wherein the linear arms of the organization extend from the sides of a square or rectangular central space.

Clustered Spatial Organization

Relies on physical proximity to relate its spaces to one another. It often consists of repetitive, cellular spaces that have similar functions and share a common visual trait such as shape or orientation.

Grid Spatial Organization

Consists of forms and spaces whose positions in space and relationships with one another are regulated by a three-dimensional grid pattern or field.

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.

Personal Space

The variable and subjective distance at which one person feels comfortable talking to another.

Intimate Distance

0-18 inches (0-450mm). Voluntarily selected gap between people who are drawn to each other. At this close range, vision is distorted and any vocalization is a whisper, moan, or grunt.

Personal Distance

18 inches to 4 feet (450mm-1.20m). The sense of body heat is lost. Eyesight begins to focus, and vocalization comes into play. Although only ritualized touch is typical, the other person is still at arm's length, available to be grasped, held, or shoved away.

Social Distance

4 to 10 feet (1.20m-3.00m). This is the zone of impersonal transaction. We now have to rely solely on what we can see and hear.

Public Distance

10 feet to infinity (3 meters and beyond). This is the zone where we can no longer pick up subtle nuances of meaning from the face or tone of voice. The eye can take in the whole body at a glance.

Semi-Fixed Ferture Space

The distinct relationship of furniture arrangement in public places to the degree of conversation.

Sociopetal Space

Spaces which tend to bring people together.

Sociofugal Space

Spaces which tend to keep people apart and discourage conversations.

Style

A particular or distinctive form of artistic expression characteristic of a person, people, or period.

Moorish

Architectural style prevalent in Spain and Morocco. Influences were Mesopotamian brick and stucco techniques with the frequent use of horseshoe arch, and Roman columns and capitals.

Classical

Architectural style derived from the principles of Greek and Roman architecture.

Romanesque

Architectural style which emerged from Roman and Byzantine elements. Characterized by massive articulated wall structures, arches and powerful vaults.

Gothic

Revolutionary style of construction. Emerged from Romanesque and Byzantine forms and characterized by a delicate balance of forces, with thrusts directed throughout a rigid structural lattice. Features were height and light, achieved through a mixture of skeletal structures and ever increasing windows.

Renaissance

Architectural style developed during the rebirth of classical art and learning in Europe. Characterized by the use of classical orders, round arches, and symmetrical proportions.

Baroque

Architectural style more ornate than the Renaissance style. Deliberate in its attempt to impress, and was lavish of all styles, both in its use of materials and in the effects it achieves.

Rococo

Final phase of the Baroque style. Characterized by a profuse, semi-abstract ornamentation and associated with lightness, swirling forms, flowing lines, ornate stucco work, and arabesque ornament.

Neoclassism

Architectural style characterized by monumentality, strict use of the orders, and sparing application of ornament.

Expressionism

Architecural style where buildings were treated not only as functional structures but also as sculptural objects.

Art Noveau

Style of fine and applied art characterized by fluid, undulating motifs, often derived from natural forms.

Art Deco

Architectural style marked by geometric motifs, streamlined and curvilinear forms, sharply defined outlines, often bold colors.

International Style

Functional architecture devoid of regional characteristics. Characterized by simple geometric forms, large untextured, often white surfaces, large areas of glass, and general use of steel or reinforced concrete construction.

Bauhaus

Style where the concepts and ideas were characterized chiefly by the synthesis of technology, craft, and design aesthetics. Emphasizes on functional design.

Brutalism

Emphasizes the aesthetic use of basic building processes, especially of cast-in-place concrete, with no apparent concern for visual amenity.

Post Modernism

Reaction against International style and Modernism. Encourages use of elements from historical vernacular styles and often playful illusion, decoration, and complexity.

Organic Architecture

Expression of personal freedom, harmony between structure and the environment, and integration of individual parts to the whole concept. All forms should express the natural use of materials.

Deconstruction

Neo-modern or post-structuralism. Questions traditional assumptions and takes modernist abstraction to an extreme and exaggerates already known motifs.

Evolutionary Architecture

Design that grows and develops based on climatic and ecological elements, as well as advances in technology. Approached as a living organism as if natural forces had shaped the structure.

Eugene Tsui

Major proponent of evolutionary architecture.

Conceptual Architecture

Invisible or imaginary architecture. Represents plans and drawings for buildings and cities that have never been constructed for pure research or speculation.