Comprehensive Study Notes on Architectural Systems, Orders, Elements, Scale, Proportion, and Spatial Organization

Architectural Systems

Architectural systems represent the integration of spatial, structural, enclosure, circulation, technological, program, and contextual elements that collectively define built environments.

• Spatial System
  • The three-dimensional integration of program elements and spaces accommodates the multiple functions and relationships of a building.
  • Organizes spaces through specific patterns, relationships, clarity, and hierarchy.
• Structural System
  • Provides formal image and spatial definition.
  • Example: A grid of columns supporting horizontal beams and slabs.
  • Example: A cantilever that acknowledges the direction of approach along a longitudinal axis.
• Enclosure System
  • Defines volumetric boundary and internal program accommodation through qualities of surfaces, edges, and openings.
  • Example: Four exterior wall planes defining a rectangular volume containing program elements and spatial units.
• Circulation System
  • Governs movement in space-time through approach, entry, path configuration, access, and spatial sequence.
  • Example: Stairs and ramps penetrating and linking multiple levels to heighten perception of forms in space and light.
  • Example: A curved entrance foyer shaped to reflect the turning movement of an automobile.
• Context
  • Integrates the site, environment, climate (sun, wind, temperature, precipitation), geography (soils, topography, vegetation, water), and sensory/cultural characteristics.
  • Example: Elevating a main floor to offer better views while avoiding ground humidity.
  • Example: A garden terrace distributing sunlight to spaces gathered around it.
  • Example: A simple exterior form wrapping around a complex interior organization of forms and spaces.
• Case Study Example: Villa Savoye
  • Location: Poissy, east of Paris, France.
  • Date of Construction: $1923\text{--}1931$.
  • Architect: Le Corbusier.

Architectural Orders

Architectural orders provide the framework for analyzing physical elements, sensory experiences, and intellectual meanings inherent in buildings.

• Physical Orders
  • Consists of the direct form and space relationships: solids and voids, interior and exterior.
  • Encompasses systems and organizations of space, structure, enclosure, and physical machines.
• Perceptual Orders
  • Rooted in sensory perception and sequential recognition of physical elements experienced over time.
  • Includes approach and departure, entry and egress, movement through space order, functioning/activities within spaces, and visual/auditory qualities (light, color, texture, view, sound).
• Conceptual Orders
  • The intellectual comprehension of ordered or disordered relationships among elements and systems, along with the meanings they evoke.
  • Includes images, patterns, signs, symbols, and context.
  • Technics: Refers specifically to the theory, principles, or study of an art or a process.

Basic and Primary Elements of Design

Design compositions rely on fundamental primary elements that progress from zero dimensions to three dimensions.

• The Kinetic Energy of Form (Paul Klee, 1961)
  • As described in The Thinking Eye: The Notebooks of Paul Klee: "All pictorial form begins with the point that sets itself in motion… The point moves . . . and the line comes into being—the first dimension. If the line shifts to form a plane, we obtain a two-dimensional element. In the movement from plane to spaces, the clash of planes gives rise to body (three-dimensional) . . . A summary of the kinetic energies which move the point into a line, the line into a plane, and the plane into a spatial dimension."
• Primary Elements
  • Point
    • The prime generator of form indicating position in space.
    • In top view, acts as a basic example of space (a 3D field where objects and events occur with relative position and direction, or a portion set apart for a specific purpose).
    • Signifies focus, attention, and acts as a mark of identification.
  • Line
    • An extended point possessing length, direction, and position in one dimension ($1\text{D}$).
    • Formed by multi and repetitive points.
    • Directions include back and forth, right to left, left to right, up or down, and vice versa.
    • Architectural Line Examples: Columns or posts going up signify verticality and height; ceiling lines indicate the width of a space; floor lines indicate directions and focus; horizon line establishes visual perspective.
  • Plane
    • An extended line possessing length, width, shape, surface, orientation, and position in two dimensions ($2\text{D}$).
    • Architectural Plane Types: Wall plane, Overhead plane, Base plane.
  • Volume
    • An extended plane possessing length, width, depth, form, space, surface, orientation, and position in three dimensions ($3\text{D}$).
    • Example: The volumetric massing seen in historical monuments like the Pantheon (\text{M\cdot AGRIPPA\cdot L\cdot F\cdot COS\cdot TERTIUM\cdot FECIT}).

Properties of Form

Architectural form articulates space through physical, visual, and relational attributes.

• Form Definition (Edmund N. Bacon, 1974)
  • As stated in The Design of Cities: "Architectural form is the point of contact between mass and space … Architectural forms, textures, materials, modulation of light and shade, color, all combine to inject a quality or spirit that articulates space. The quality of the architecture will be determined by the skill of the designer in using and relating these elements, both in the interior spaces and in the spaces around buildings."
• Core Properties
  • Shape: The characteristic outline or surface configuration of a form; the primary visual identifier.
  • Size: The physical dimensions of length, width, and depth. Determines proportion, while scale is determined relative to context.
  • Color: A phenomenon of light and visual perception described via hue, saturation, and tonal value. Distinguishes form from environment and affects visual weight.
  • Texture: The visual and tactile quality given by the size, shape, arrangement, and proportion of parts. Determines light reflection or absorption.
  • Position: The location of a form relative to its environment or visual field.
  • Orientation: The direction of a form relative to the ground plane, compass points, adjacent forms, or observer.
  • Visual Inertia: The degree of concentration and stability of a form depending on geometry, orientation relative to gravity, ground plane, and line of sight.

Anthropometrics and Human Proportions

• Definitions
  • Anthropology: The overall study of humans, past and present.
  • Anthropometry / Anthropometrics: Derived from Greek Anthropos (man) and Metron (measure), meaning "The Measure of Man." A branch of anthropology studying the measurements, dimensions, lengths, capacities, and proportions of the human body.
  • Measured Parameters: Height, weight, reach, length, width, depth, circumference, surface area, physical strength, dexterity, and range of motion.
• Historical Precedents & Anatomical Trivia
  • Vitruvian Man: Drawn by Leonardo da Vinci in the late 1400s to depict dimensional equivalencies in human anatomy.
  • Face & Hand: Hand length (bottom of palm to tip of middle finger) equals face height (excluding the nose).
  • Eyes: Distance between inner corners of the eyes equals the width of one eye.
  • Limbs: Foot length (heel to toe) equals forearm length (wrist to elbow); thumb length (knuckle to tip) equals nose length.
  • Arm Span: Outstretched arm span (fingertip to fingertip) equals total body height.
• Statistical Data (Standing Adult Male Population - 95% U.S. Range)
  • Height Percentiles: $2.5\%$ tile = $64.4''$ ($163.6\,\text{cm}$); $50\%$ tile = $69.1''$ ($175.5\,\text{cm}$); $97.5\%$ tile = $74.0''$ ($188.0\,\text{cm}$).
  • Body Weight: $2.5\%$ tile = $127.7\,\text{lb}$ ($57.9\,\text{kg}$); $50\%$ tile = $161.9\,\text{lb}$ ($73.4\,\text{kg}$); $97.5\%$ tile = $208.9\,\text{lb}$ ($94.8\,\text{kg}$).
  • Arm Span: $2.5\%$ tile = $65.5''$; $50\%$ tile = $70.8''$; $97.5\%$ tile = $76.6''$.
  • Body Circumferences (50th Percentile): Chest circ. = $38.7''$; Waist circ. = $31.7''$; Hip circ. = $37.7''$.
  • Sightline Limits: $30^\circ$ easy head movement / comfortable sightline range; $50^\circ$ maximum upward/downward movement.
• Neufert's Architects Data Proportional Divisions ($h$ = total height)
  • $\frac{1}{2}h$: Crotch upwards (top half of the whole body).
  • $\frac{1}{4}h$: Knee to ankle distance; chin to navel distance.
  • $\frac{1}{6}h$: Total length of foot.
  • $\frac{1}{8}h$: Head length (hair parting to bottom of chin); distance between nipples.
  • $\frac{1}{10}h$: Face height and width (including ears); hand length to wrist.
  • $\frac{1}{12}h$: Face width at bottom of nose; leg width above ankle.
  • Subdivisions extend down to $\frac{1}{40}h$

Ergonomics and Human Factors Engineering

• Definition
  • Derived from Greek Ergos (work) and Nomos (natural law).
  • Focuses on measuring human body movements and their functional interactions with products, furniture, spaces, and machinery.
• Dimensional Activity Zones (Standing Activity & Storage Access)
  • Zone A (Light Fixtures / High Hanging Storage): $18\text{--}24\,\text{in}$ ($45.7\text{--}61.0\,\text{cm}$).
  • Zone B (Upper Wall Cabinets / Drawers): $48\text{--}58\,\text{in}$ ($121.9\text{--}147.3\,\text{cm}$).
  • Zone C (Workbench Tops / Standard Counter Heights): $36\text{--}40\,\text{in}$ ($91.4\text{--}101.6\,\text{cm}$).
  • Zone D (Mid-level Storage Drawers): $46\text{--}52\,\text{in}$ ($116.8\text{--}132.08\,\text{cm}$).
  • Zone E (Lower Door Cabinets): $30\text{--}36\,\text{in}$ ($76.2\text{--}91.4\,\text{cm}$).
  • Zone F (Maximum Reachable Shelf Height without Stool): $72\,\text{in}$ ($182.9\,\text{cm}$).
• Kitchen & Clearance Ergonomics
  • Work Surface Height: Standard kitchen counters range from $85\text{--}92\,\text{cm}$.
  • Passage Clearances: Minimum passageway width between counters or obstructions is $\ge 65\,\text{cm}$ for standard access and $\ge 1.20\,\text{m}$ for two-way or main movement corridors.
  • Vertical Clearances: Overhead clearance beneath cupboards or hood ranges recommended at $\ge 2.00\,\text{m}$ to $\ge 2.30\,\text{m}$.
• Wheelchair Circulation Requirements
  • Requires specific turning radii and clear openings for doors aligned straight or at right angles.
  • Clear openings must accommodate single-user turnaround, partial two-way circulation, and full two-way wheelchair passing.

Philosophical Approaches to Architecture: Anthropocentrism vs. Biocentrism vs. Ecocentrism

• Anthropocentrism
  • The belief that human beings are the central and most important entity in the universe.
  • Assigns greater intrinsic value to humans than non-human species.
  • Artistic/Architectural Examples: Mona Lisa by Leonardo da Vinci, The Creation of Adam by Michelangelo Buonarroti.
• Biocentrism
  • The belief that all living organisms possess inherent equal value regardless of species.
• Ecocentrism
  • A system-centered view assigning inherent value to full ecosystems, including both living organisms and non-living environmental elements.
• Post-Anthropocentric Urbanism: Project Arcadia
  • Provides design concepts for transitioning to post-anthropocentric cities.
  • Promotes urban biodiversity and repositions humans as guardians and protectors of all species.

Socio-Cultural and Gender Dimensions in Architectural Form

• Erik Erikson's Block Studies
  • Observed children aged 10 to 12 constructing toy environments.
  • Boys consistently built tall, high-rising, dynamic, or intrusive structures.
  • Girls constructed low, open, enclosed interior spaces representing peaceful, welcoming environments.
  • Historical Myth/Stereotype: Men tend to design vertical, linear, phallic structures; women tend to design flat, horizontal, curvilinear structures.
• Male Architects Associated with Curvilinear, Non-Phallic ("Feminine") Forms
  • Antoni Gaudí: Designed Casa Milà and Sagrada Família Schools featuring curvilinear, flat, non-structural rhythms.
  • Eero Saarinen: Designed Ingalls Rink and TWA Flight Center at JFK International Airport; characterized by low, sweeping, rounded profiles.
  • Le Corbusier: Designed the urban master plan of Chandigarh (emphasizing flat horizontal lines over towers) and Notre Dame du Haut at Ronchamp.
  • Santiago Calatrava Valls: Works like Auditorio de Tenerife and Milwaukee Art Museum feature sculpture-like, curvilinear compositions.
• Female Architects Associated with High-Rise ("Masculine") Structures
  • Natalie de Blois: Senior designer at Skidmore, Owings & Merrill (SOM) after leaving Ketchum, Gina, & Sharpe; designed landmark tall structures including the Equitable Building, Pepsi-Cola Headquarters, Lever House, and 270 Park Avenue.
  • Francine Houben: Designed major high-rises including Montevideo ($2005$) and FiftyTwoDegrees ($2007$).
  • Jeanne Gang: Founder of Studio Gang; designed Aqua Tower (the tallest skyscraper designed by a woman at time of completion) and Vista Tower.
• Gay and Queer Architectural Traditions
  • Adolf Loos (1922): Submitted an entry to the Chicago Tribune Headquarters competition (which had 260 entries from 32 countries) shaped as a massive Doric column as a theoretical provocation against past historical styles.
  • Strawberry Hill: Built by Horace Walpole; features stuccoed battlements, theatrical interiors, crimson and gilded state apartments, and delicate papier-mâché details, creating a space for a same-sex social circle.

Architectural Scale

• Definition of Scale
  • The proportional size of a building element or structure compared to a recognized reference standard, most commonly the human body.
  • In visual representation, scale denotes the ratio between a drawn depiction and physical reality.
• Primary Types of Scale
  • Generic Scale: The size of a building element relative to other components in the structure, enabling judging of overall massing from a distance (e.g., estimating floor count via window intervals).
  • Human Scale: Sizing based on human dimensions and posture limits (e.g., standard door height, step risers, sill levels), creating feelings of security and intimacy.
• Factors Governing Perception of Scale
  • Visual Factors: Familiar architectural elements (e.g., standard doors and residential windows) give instant scale benchmarks. Example: Reims Cathedral features vast portal arches scaled to the building's monumental facade, but incorporates human-scaled entry doors within them.
  • Human Factors
    • Physical Dimensions: Body size, reach height, and horizontal eye-level sightlines dictate functional clearance.
    • Sensory Perception: Field of vision limits, sound reflection/acoustics, and surface textures (e.g., smooth wood vs. rough stone).
    • Psychological Response: Ceiling height alters spatial feeling (low ceilings induce intimacy; extreme high ceilings evoke awe). Color treatments alter perception: light colors enlarge spaces by reflecting light; dark colors on opposing walls narrow balanced spaces.
  • Technical Factors: Structural span capacities, material strengths (slender steel vs. thick concrete), standard manufacturing modules, and environmental control performance (light penetration, thermal mass, ventilation airflow).

Theories of Proportion

Proportion is the harmonious relationship of one part to another or to the entire structural whole.

• Inherent Proportioning Drivers
  • Material Proportions: Dictated by strength and physical limits of natural/synthetic materials.
  • Structural Proportions: Dictated by load-bearing requirements and structural spans.
  • Manufactured Proportions: Dictated by mass production dimensions and standardized prefabricated construction units.
• Mathematical and Historical Proportioning Systems
  • Fibonacci Sequence
    • A numerical sequence where each term is the sum of the preceding two:
    • $0, 1, 1, 2, 3, 5, 8, 13, 21, 34, \dots$
  • Golden Ratio (Golden Section / Golden Mean / Phi $\phi$)
    • A proportional relationship found in nature used to generate balanced compositions.
  • Classical Orders System
    • Proportions derived directly from the column diameter ($d$ or $D$) at its base, which governs the shaft, capital, entablature, and pedestal.
    • Tuscan: Column height = $7d$; Entablature height = $1.75d$
    • Doric: Column height = $8d$; Entablature height = $2d$
    • Ionic: Column height = $9d$; Entablature height = $2.25d$
    • Corinthian / Composite: Column height = $10d$; Entablature height = $2.5d$
    • Intercolumniation Rules (Column Spacing in Diameters $D$):
      • Pycnostyle: $1.5D$ ($1\frac{1}{2}D$)
      • Systyle: $2D$
      • Eustyle: $2.25D$ ($2\frac{1}{4}D$)
      • Diastyle: $3D$
      • Araeostyle (Aracostyle): $4D$
  • Le Corbusier's Modulor
    • Developed in $1942$; published in The Modulor ($1948$) and Modulor II ($1954$).
    • Combines Fibonacci numbers, Golden Section, and human functional dimensions.
    • Based on a standard male height of $1829\,\text{mm}$ ($6\,\text{ft}$).
    • First Golden Section division occurs at the navel height of $1130\,\text{mm}$.
    • Generates two Fibonacci-based measurement columns: Column A (standing figure) and Column B (figure with arm extended upward to $2260\,\text{mm}$).
  • Renaissance Theories (Andrea Palladio)
    • In The Four Books on Architecture ($1570$), Palladio established seven ideal room shapes: circular, square, square-diagonal ($\sqrt{2}$), square-and-a-third ($3:4$), square-and-a-half ($2:3$), square-and-two-thirds ($3:5$), and double square ($1:2$).
    • Height Determination Rules:
      • Flat ceiling room height = room width.
      • Square vaulted ceiling room height = $1\frac{1}{3} \times \text{width}$.
      • Other rooms derived using Pythagorean means (arithmetic, geometric, harmonic).
  • The Japanese Ken System
    • Based on the Shaku unit imported from China ($1\,\text{shaku} = 0.30303\,\text{m}$).
    • The Ken was standardized as an absolute structural and spatial grid module in Japanese architecture.
    • Measurement Equivalencies:
      • $1\,\text{Sun} = 0.030303\,\text{m} = 0.1\,\text{shaku} = 0.016666\,\text{ken}$
      • $1\,\text{Shaku} = 0.30303\,\text{m} = 10\,\text{sun} = 0.166666\,\text{ken}$
      • $1\,\text{Meter} = 33\,\text{sun} = 3.3\,\text{shaku} = 0.55\,\text{ken}$
      • $1\,\text{Ken} = 1.81818\,\text{m} = 60\,\text{sun} = 6\,\text{shaku}$
    • Tokonoma: A raised alcove ($0.5\,\text{ken}$ deep) acting as the spiritual focal point of a formal room for displaying a kakemono scroll or flower arrangement.
    • Floor Layouts: Rooms sized in tatami floor mats ($3$, $4$, $4.5$, $6$, $8$, and $10$-mat configurations).

Balance, Symmetry, and Visual Perception

• Balance
  • The optical or physical state of equilibrium, composition, and equality between opposing visual forces, masses, colors, or tones.
  • Gravitational Tendency: The natural pull toward a central focal point or object.
  • Axis: An imaginary line established by two points in space along which forms and spaces are arranged. An axis has length, induces movement along its path, demands balance, and must be terminated by visual points (building masses, portals, or focal points).
• Three Types of Balance
  1. Symmetrical (Monumental Effect):
     • Central Axis: Exact identical duplication of shape, size, and tone on opposite sides of a center line.
     • Formal Balance: General massing matches closely across an axis, but exhibits subtle variations in plan, openings, or surface details.
     • Radial Balance: Elements radiate outward from a shared central point like spokes on a wheel.
  2. Unsymmetrical (Informal / Occult Balance): Subtle spatial composition balancing unequal masses and irregular shapes at varying distances from a visual center.
  3. Gravitational (Picturesque Balance): Informal composition that balances visual weights through dynamic contrast, such as placing small bright colors against large neutral background fields. Example: Fallingwater by Frank Lloyd Wright.
• Types of Symmetry
  • Bilateral Symmetry: Balanced arrangement of equivalent elements across a median axis such that only one single plane divides the composition into identical halves.
  • Radial Symmetry: Radiating arrangement where passing a dividing plane at any angle through a central point or axis yields identical halves.
• Visual Acuity & Perception Principles
  • Visual Acuity: The ability to resolve visual details; increases proportionally with higher illumination levels. Separation between two lines placed end-to-end is detected faster than when placed side-by-side.
  • Stereoscopic Vision: Overlapping two slightly different planar images from two eyes to perceive 3D depth and judge distance based on retinal disparity.
  • Kinesthetic Vision: Experiencing spatial depth through eye and body movement across compositions.
  • Figure-Ground Perception: Cognitive separation of visual fields into a focal "figure" and an active or passive "ground." Example: Optical illusions alternating between a white cross figure and a dark X figure.
  • Reversible Figures: Compositions where two distinct shapes carry equal visual weight, causing continuous spatial alternation between figure and ground.

Form Concepts and Transformations

• Lao-tzu Metaphor on Space (Tao Te Ching, 6th Century B.C.)
  • "We put thirty spokes together and call it a wheel; but it is on the space where there is nothing that the utility of the wheel depends. We turn clay to make a vessel; but it is on the space where there is nothing that the utility of the vessel depends. We pierce doors and windows to make a house; and it is on these spaces where there is nothing that the utility of the house depends. Therefore, just as we take advantage of what is, we should recognize the utility of what is not."
• Primary Methods of Form Transformation
  1. Additive Transformation
     • Attaching subordinate volumes or forms to a main parent shape.
     • Grouping Mechanisms: Spatial tension (close proximity), edge-to-edge contact (sharing a common edge pivot), face-to-face contact (parallel planar contact), and interlocking volumes (spatial interpenetration).
     • Examples: Il Redentore in Venice ($1577\text{--}1592$) by Andrea Palladio, Ruihe Building, and Manchester Civil Justice Centre.
  2. Subtractive Transformation
     • Removing portions of a primary volume.
     • Examples: Gwathmey Residence ($1967$) by Charles Gwathmey, The Orange Cube, and China Central Television (CCTV) Headquarters.
  3. Dimensional Transformation
     • Altering physical dimensions (length, width, height) while keeping the form within its visual family.
     • Examples: Unité d'Habitation ($1963\text{--}1968$) by Le Corbusier (cube stretched into vertical slab), Kauffman Center for the Performing Arts, Georgia-Pacific World Headquarters.
• Mimetic Architecture
  • Structures designed to literally copy physical objects or muses.
  • Examples: Seminole Hard Rock Hotel & Casino in Florida ($2019$; guitar shape), The Lotus Building in Wujin, China ($2013$), Lotus Temple in Delhi, India, and The Dubai Frame in Dubai, UAE.

Spatial Organizations and Interrelationships

• Five Primary Form Organizations
  1. Centralized Organization: A dominant central space surrounded by secondary spaces. Example: Tempietto at S. Pietro in Montorio, Rome ($1502$) by Donato Bramante.
  2. Linear Organization: A linear sequence of repetitive or varied spaces. Examples: Runcorn New Town Housing ($1967$) by James Stirling; The Mile-high Illinois ($1956$) by Frank Lloyd Wright; Jeddah Tower by Adrian Smith + Gordon Gill; Burj Khalifa ($2010$) by Adrian Smith at SOM.
  3. Radial Organization: Linear arms extending outward from a central core. Examples: UNESCO Headquarters scaled model; Skyscraper by the Sea ($1938$) by Le Corbusier.
  4. Clustered Organization: Flexible grouping based on functional requirements, proximity, or interpenetration rather than geometric rules. Examples: Taos Pueblo in New Mexico ($13\text{th}$ century); Habitat Israel ($1969$) and Habitat Montreal ($1967$) by Moshe Safdie.
  5. Grid Organization: Spaces organized inside a three-dimensional structural grid framework. Examples: Gunma Prefectural Museum of Fine Arts ($1974$) by Arata Isozaki; Nakagin Capsule Building ($1972$) by Kisho Kurokawa.
• Four Spatial Interrelationships
  1. Space Within a Space: A small space contained inside a larger volumetric enclosure. Example: Glass House ($1949$) by Philip Johnson.
  2. Interlocking Spaces: Two spatial volumes overlap to create a shared zone. Example: Plan for St. Peter ($1506\text{--}1520$) by Donato Bramante & Baldassare Peruzzi.
  3. Adjacent Spaces: Two distinct spaces abut and share a boundary wall or edge. Example: Lawrence House ($1966$) by Moore-Turnbull/MLTW.
  4. Spaces Linked by a Common Space: Two isolated spaces connected through an intermediate linking volume. Example: One-Half House ($1966$) by John Hejduk.

Circulation Systems

• Approach
  • The initial pathway phase preparing an observer to enter a building.
  • Approach Pathways: Frontal (direct line to facade), Oblique (angled viewpoint), and Spiral (circuitous path wrapping around building mass).
• Entrance Categories
  • Flush: Keeps plane continuity along wall facade.
  • Projected: Extends outward to form a transitional covered porch or canopy.
  • Recessed: Steps back inside the structure to create shelter.
  • Historical Examples: Palazzo Zuccari (Rome), Piazza San Marco (Venice), O' Torri at Toshogu Shrine, Merchants National Bank (Iowa), Temple of Horus at Edfu.
• Configuration of the Path
  • Linear: Movement along a single line, curve, or branch.
  • Radial: Movement radiating from or terminating at a central point.
  • Spiral: Movement revolving around a central point while extending outward.
  • Grid: Parallel intersecting paths forming rectangular movement networks.
  • Network: Interconnected paths running between fixed spatial points.

Fieldwork Requirements and Design Exercises

• Activity 02: Research Compilation on Residential Furniture
  • Task: Compile sofa sets, chair types, dining tables, bed types, and storage cabinets.
  • Format: Must include furniture names, physical descriptions, and complete dimensions compiled on long bond paper ($10\text{--}15$ sheets maximum, excluding cover page).
• Activity 04: Fieldwork - Human Measurement & Ergonomic Profiling
  • Target Spaces: Bedroom, Kitchen & Dining Area, Living Area.
  • Task: Measure length, width, and clearances using a measuring tape.
  • Deliverables: Scaled floor plans ($1:20$ or $1:25$ scale) and site measurement photographic proof compiled on long bond paper ($2\text{--}3$ pages per space).
  • Due Date: August 10, 2026.
• Activity 08: Form and Space Architectural Photo Analysis
  • Task: Photographic compilation of home features showing spatial interrelationships and circulation elements.
  • Format: A4 PDF document (minimum 4 pages, at least 2 photos per page).
  • Due Date: August 24, 2026, at 12:00 PM.