TOA 2

1. Point
2. Line
3. Plane
4. Volume

PRIMARY ELEMENTS OF DESIGN

Point

PRIMARY ELEMENTS OF DESIGN
-It marks a position in space. Conceptually, it has no length, width, or depth, and is therefore static, centralized, and directionless.
-can serve to mark:
▪ the two ends of a line;
▪ the intersection of two lines;
▪ meeting of the lines at the corner of a plane or volume; and
▪ the center of a field.

Line

PRIMARY ELEMENTS OF DESIGN
-An extended point. Conceptually, a line has length, but no width or depth. It is capable of visually expressing direction, movement, and growth.
-can serve to:
▪ join, support, surround, or intersect other visual elements;
▪ describe the edges of and give shape to planes; and
▪ articulate the surfaces of planes.

Menhir

A prehistoric monument consisting of an upright megalith, usually standing alone but sometimes aligned with others.

Column of Marcus Aurelius
Piazza Colonna, Rome

The cylindrical shaft commemorates the emperor's victory over Germanic tribes north of the Danube.

Obelisk of Luxor
Place de la Concorde, Paris

The obelisk, which marked the entrance to the Amon Temple at Luxor, was given by the viceroy of Egypt, Mohamed Ali, to Louis Phillipe and was installed in 1836.

Plane

PRIMARY ELEMENTS OF DESIGN
-An extended line in a direction other than its intrinsic direction. Conceptually, a plane has length and width, but no depth.

Shape

is the preliminary identifying characteristic of a plane. It is determined by the contour of the line forming the edges of a plane.

1. Surface
2. Color
3. Pattern
4. Texture

Supplementary properties of a plane, affect its visual weight and stability

1. Overhead plane (roof or ceiling plane)
2. Wall plane
3. Base plane (ground or floor plane)

3 generic types of planes in architectural design

Volume

PRIMARY ELEMENTS OF DESIGN
A plane extended in a direction other than its intrinsic direction.

1. Length
2. Width
3. Depth

Three dimensions of volume

Form

is the primary identifying characteristic of a volume. It is established by shapes and interrelationships of the planes that describe the boundaries of the volume.

cortile

principal courtyard of an Italian palazzo

Form

The formal structure of a work—the manner of arranging and coordinating the elements and parts of a composition so as to produce a coherent image.

Articulation

A method or manner of jointing that makes the united parts clear, distinct, and precise in relation to each other.

1. Shape
2. Size
3. Texture
4. Color

Visual Properties of Form

SHAPE

VISUAL PROPERTIES OF FORM
The characteristic outline or surface configuration of a particular form.

SIZE

VISUAL PROPERTIES OF FORM
The physical dimensions of length, width, and depth of a form. While these dimensions determine the proportions of a form, its scale is determined by its size relative to other forms in its context.

TEXTURE

VISUAL PROPERTIES OF FORM
The visual and especially tactile quality given to a surface by the size, shape, arrangement, and proportions of the parts. Texture also determines the degree to which the surfaces of a form reflect or absorb incident light.

COLOR

VISUAL PROPERTIES OF FORM
-A phenomenon of light and visual perception that may be described in terms of an individual's perception of hue, saturation, and tonal value.
-is the attribute that most clearly distinguishes a form from its environment. It also affects the visual weight of a form.

1. Hue
2. Value
3. Temperature
4. Intensity

PARTS OF COLOR

Hue

PARTS OF COLOR
another word for color

Value

PARTS OF COLOR
describes how light or dark the color is

Temperature

PARTS OF COLOR
relates to the feeling of warmth or coolness the color evokes

Intensity

PARTS OF COLOR
measures the range of a color from dull to vivid. Also called chroma and saturation.

1. Red
2. Blue
3. Yellow

COLOR WHEEL
Primary colors

1. Violet
2. Green
3. Orange

COLOR WHEEL
Secondary colors

1. Red-violet
2. Blue-violet
3. Yellow-green
4. Blue-green
5. Red-orange
6. Yellow-orange

COLOR WHEEL
Tertiary colors

1. Warm colors
2. Cool colors

COLOR WHEEL
Colors used to convey emotions

Warm colors

COLOR WHEEL
exhibit energy and joy (best for personal messages). They have a tendency to appear larger.

Cool colors

COLOR WHEEL
convey calmness and peace (best for office use). They have a tendency to appear smaller next to a warm color. They often work well as a background color.

1. Compelementary
2. Analogous
3. Triadic
4. Split Complementary
5. Tetradic or Double complementary

BASIC COLOR SCHEMES

Compelementary

BASIC COLOR SCHEMES
Any two colors opposite each other on the wheel. For example, blue and orange, or red and green.

Analogous

BASIC COLOR SCHEMES
Any three colors next to each other on the wheel. For example, orange, yellow-orange,
and yellow.

Triadic

BASIC COLOR SCHEMES
Any three colors that are equally apart on the color wheel. For example, red, yellow and blue.

Split Complementary

BASIC COLOR SCHEMES
Use three colors. The scheme takes one color and matches it with the two colors adjacent to its complementary color. For example, blue, yellow-orange and red-orange.

Tetradic or Double complementary

BASIC COLOR SCHEMES
Uses four colors together, in the form of two sets of complementary colors. For example, blue and orange is paired with yellow and violet.

1. Tints
2. Shades
3. Tones
4. Achromatic

Basic color schemes

Tints

BASIC COLOR SCHEMES
come from adding white to hues

Shades

BASIC COLOR SCHEMES
come from adding black to hues

Tones

BASIC COLOR SCHEMES
mixing the hue with grey

Achromatic

BASIC COLOR SCHEMES
use no color, just shades of grey, black and white. Also known as greyscale

1. Position
2. Orientation
3. Visual Inertia

RELATIONAL PROPERTIES OF FORM

Position

RELATIONAL PROPERTIES OF FORM
The location of a form relative to its environment or the visual field within which it is seen.

Orientation

RELATIONAL PROPERTIES OF FORM
The direction of a form relative to the ground plane, the compass points, other forms, or to the person viewing the form.

Visual Inertia

RELATIONAL PROPERTIES OF FORM
The degree of concentration and stability of a form. The visual inertia of a form depends on its geometry as well as its orientation relative to the ground plane, the pull of gravity, and our line of sight.

Milwaukee Art Museum
Milwaukee, Wisconsin
Santiago Calatrava

Identify

Kazakhstan National Library (Proposal)
Astana, Kazakhstan
Bjarke Ingels Group/BIG

Identify

Ningbo Museum/Yinzhou Museum
Zhejiang Province, China
Wang Shu

Identify

Hoffman House
East Hampton, New York
Richard Meier

Identify

Palazzo Medici/Palazzo Medici Riccardi
Florence, Italy
Michelozzo di Bartolomeo Michelozzi

Identify

John Deere & Company Building/John Deere World Headquarters
Moline, Illinois
Eero Saarinen

Identify

CBS Building/Black Rock
New York City
Eero Saarinen

Identify

IBM Research Center/IBM La Gaude
La Guade, Var, France
Marcel Breuer

Identify

First Unitarian Church
Rochester, New York
Louis Kahn

Identify

Everson Museum/Everson Museum of Art
Syracuse, New York
I. M. Pei

Identify

Einstein Tower
Potsdam, Germany
Erich Mendelsohn

Identify

Johnson Wax Research Tower/Johnson Wax Headquarters
Racine, Wisconsin
Frank Lloyd Wright.

Identify

Kaufmann Desert House
Palm Springs, California
Richard Neutra

Identify

Circulation

The passage of persons or things from one place to another or through an area.

1. Approach
2. Entrance
3. Configuration of the path
4. Path-space relationships

CIRCULATION ELEMENTS

Approach

CIRCULATION ELEMENTS
This is the first phase of the circulation system, during which we are prepared to see, experience, and use the spaces within a building.

1. Frontal
2. Oblique
3. Spiral

KINDS OF APPROACH

FRONTAL

KINDS OF APPROACH
Leads directly to the entrance of a building along a straight, axial path. The visual goal that terminates the approach is clear.

Villa Barbaro/Villa di Maser
Maser, Italy
Andrea Palladio

Identify

Qian Men/Zhengyangmen (Front gate)
Beijing, China

Link between the Forbidden City to the north and the Outer City to the South.

Portals and gateways

have traditionally served as means of orienting us to the path beyond and welcoming or guarding against our entry.

OBLIQUE

KINDS OF APPROACH
Enhances the effect of perspective on the front facade and form of a building

SPIRAL

KINDS OF APPROACH
Prolongs the sequence of the approach and emphasizes the three-dimensional form of a building as we move around its perimeter.

Entrance

▪ From outside to inside.
▪ Entering a building, a room within a building, or a defined field of exterior space, involves the act of penetrating a vertical plane that distinguishes one space from another and separates "here" from "there."

1. Flush
2. Projected
3. Recessed

CATEGORIES OF ENTRANCES

FLUSH

CATEGORIES OF ENTRANCES
Maintains the continuity of the surface of a wall and can be deliberately obscured.

PROJECTED

CATEGORIES OF ENTRANCES
Forms a transitional space, announces its function to the approach, and provides overhead shelter.

RECESSED

CATEGORIES OF ENTRANCES
Also provides shelter and receives a portion of exterior space into the realm of the building.

Dr. Currutchet's House/Curutchet House
La Plata, Argentina
Le Corbusier

Identify

Piazza San Marco/St Mark's Square
Venice, Italy

View of the sea framed by the Doge's Palace on the left and Scamozzi's Library on the right. The entrance to the piazza from the sea is marked by two granite columns, the Lion's Column and the Column of St. Theodore.

Configuration of path

The sequence of spaces

1. Linear
2. Radial
3. Spiral
4. Grid
5. Network
6. Composite

CONFIGURATION OF PATH
Kinds of configuration

LINEAR

KINDS OF CONFIGURATION OF PATH
All paths are linear. A straight path, however, can be the primary organizing element for a series of spaces. In addition, it can be curvilinear or segmented, intersect other paths, have branches, or form a loop.

RADIAL

KINDS OF CONFIGURATION OF PATH
A radial configuration has linear paths extending from r terminating at a central, common point.

SPIRAL

KINDS OF CONFIGURATION OF PATH
A spiral configuration is a single, continuous path that originates from a central point, revolves around it, and becomes increasingly distant from it.

Borobudur
Java, Indonesia

A Buddhist stupa monument.
In circumambulating the monument, pilgrims passed walls ornamented with reliefs illustrating the life of buddha and the principles of his teaching.

GRID

KINDS OF CONFIGURATION OF PATH
consists of two sets of parallel paths that intersect at regular intervals and create square or rectangular fields of space.

cuadricula

a system of streets and blocks laid out in gridiron form. This method was efficient in maximizing space and in the supervision of colonial subjects.

NETWORK

KINDS OF CONFIGURATION OF PATH
A network configuration consists of paths that connect established points in space.

COMPOSITE

KINDS OF CONFIGURATION OF PATH
Employing a combination of the preceding patterns.
To avoid the creation of a disorienting maze, a hierarchical order among the paths and nodes of a building should be established by differentiating their scale, form, length, and placement.

1. Pass by Spaces
2. Pass through Spaces
3. Terminate in a Space

Path-space relationships
Paths may be related to the spaces they link in the following ways:

Pass by Spaces

PATH-SPACE RELATIONSHIPS
▪ The integrity of each space is
maintained;
▪ The configuration of the path is
flexible;
▪ The mediating spaces can be used
to link the path with the spaces.

Pass through Spaces

PATH-SPACE RELATIONSHIPS
▪ 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.

Terminate in a Space

PATH-SPACE RELATIONSHIPS
▪ The location of the space establishes the path;
▪ This path-space relationhip is used to approach and enter functionally or symbolically important spaces.

1. Enclosed;
2. Open on One Side; or
3. Open on Both Sides.

FORM OF THE CIRCULATION SPACE
A circulation space may be:

Enclosed

FORM OF THE CIRCULATION SPACE
Forming a public galleria or private corridor that relates to the spaces it links through entrances in a wall plane.

Open on One Side

FORM OF THE CIRCULATION SPACE
Forming a balcony or gallery that provides visual and spatial continuity with the spaces it links.

Open on both sides

FORM OF THE CIRCULATION SPACE
Forming a colonnaded passageway that becomes a physical extension of the space it passes through.

Design

is the creation and organization of formal elements in a work of art.

Design principle

is a fundamental and comprehensive concept of visual perception for structuring and aesthetic composition.

1. Proportion and Scale
2. Contrast
3. Balance
4. Hierarchy
5. Rhythm

PRINCIPLES OF DESIGN

Proportion

PRINCIPLES OF DESIGN
The proper harmonious relation of one part to another or to the whole.

1. Golden Section
2. Regulating Lines
3. Classical Orders
4. Renaissance Theories
5. Modulor
6. Ken
7. Anthropometry

PROPORTIONING SYSTEMS