Architectural Theories of Design

1. FOLK ARCHITECTURE

The buildings of men, being larger and more complex give rise to a greater number of
unique dedsions. Man is an unusually adaptable animal. He is capable of evolving
culturally, through cumulative experience of adaptation and successive creative deci-
sions . Decisions may be made collectively-by voting for example - but ideas occur in a
single mind which they may be communicated.

In the process of building a man make decisions which derive from his own ideas. His
ideas and therefore in a sense his self, seem to be embodied in the building-in the
design.

The architecture of a folk is evolved and modified by ideas and imitation. Folk architec-

ture is capable of diversity and differentiation. A hundred chalets may look alike and all be

different, just as a hundred people are superficially alike but all different. Architecture
begins with creative decisions by the builder and differentiations. which be associates
with himself.

Man discovered that over and above satisfying his functional needs the decisions he
made in designing a building created a relationship between him and the building, giving
it meaning, Architecture is building with which people have identified themselves, giving
it significance.

In folk archite.cture significance is given to the individual as a member of the communi-
ty- the f olk. Custom predominates design is within the context of custom; but folk archi-
tecture is design by people for people in the context of a community of people. It is intelli-
gible and congenial just as a dialect is.

In the older countries of the world it tan still be seen that Folk architecture is localized.

Often to a single valley or a few square miles of plain. The reasons for this are sometimes
apparent. They are often cultural and ethnic. Folk architecture is generally the architec-
ture of small communities.

FOLK ARCHITECTURE is then the natural domestic architecture of a people. If they mig-
rate they commonly take it with them, even in defiance of climate, but practicality ope-
rates over a period of time to adapt the original forms to new conditions, frequently pro-
ducing a new Folk style derived from the old. The characteristics of folk architecture ex-
tends to simple communal buildings such as churches, workshops, warehouses, and
barns. Origina1ity in the design of architectural form is minimal and differentiation is main-
ly a matter of building type, detail and craftmanship in decoration. Folk architecture is
concerned with the comfort and convenience of its inhabitants, congeniality being the
prerequisite of comfort.

The grouping of villages into large organizations, with the emergence of towns and cities,
creates new architectural needs which cannot be satisfied entirely by folk architecture. A
new kind of man is required, the architect.

It is apparent that different villages have different architecture and each is significant of
its own locality and people. The idea of significance becomes generalized; it is seen as a
property which architecture has. A process of synthesis then begins in the minds of ar-
chitects - They see Folk architecture as a way of designing and think of themselves as
designing in " The VERNACULAR " .

2. VERNACULAR is really a linguistic term, but it is transferred to architecture. An ar-
chitect designs in the built equivalent of the common way of speech, be it local, as in a
dialect, or national, as in the differences between the llocanos, Pangasinanese, pam-
pangos, tagalogs, cebuanos, muslims. Vernacular architecture uses the design skills of
architects to develop folk architecture.

From early times men have g~nerated natural objects such as trees, caves1 standing

488

stones or conical hills . They have made mounds an set up stones and tree trunks, giving
them religious and magical significance. They have set up altars and made buildings to
house -the paraphernalia of sacrifice of worship. They have proceeded to build temples
signifying not only themselves and then non aspiration but also the power of attributes of
a spirit or deity. Much early religion was functional. :twas intended to achieve beneficial
results: fertility, rain, sunshine, the rotation of the seasons. Significance and function
were determined by priests who claimed to be expert in functionally correct and spiritual-
ly significant buildings. This architecture, concerned with man's relationship to spiritual
powers, was capable of development to high levels of sophistication.

Vernacular Architecture is a generalized way of design derived from Folk Architecture. It
may be seen as the development of the 'natural' architecture of a region which is de-
finable in terms of climate, culture and materials. Of its own nature, however vernacular
architecture as limited to that which can properly to expressed in the 'vernacular.' It can
be used for spiritual monumental and utility buildings but limits of properiety are set by
taste and judgement scale is a.crucial factor. Vernacular architecture is congenial to peo-
ple and symphathetic to environment. It is for loving rather than admiration.

3. SPIRITUAL ARCHITECTURE - a significant and symbolic of man's relation to unseen
powers which may be gods, spirits , forces of nature, awareness, ideas, ideologies or con-
cept. The essence of spiritual architecture is that it is intended to have meaning and this is
its primary function.

Spiritual Architecture is designed towards spiritual or notional clients, human being
agents t or them. The inspiration of something over and above the human begetter of the
building has led to economic provision beyond the ordinary and the creation of the majo-
rity of the world's most admired buildings. It is a germane paradox that the greatest build-
ings'have been produced when it would have been an impiety to acou nt the cost, but
lavish expenditure in itself has produced some of the worst buildings in the world. This
suggest to us that motivation and significance are crucial to architectural design, the qua-
lity of the motivation and the character of the significance being revealed by the architec-
ture. This is another way of saying that a society is reflected in its architecture . Spiritual
architecture reflects the spiritual condition of the people who build . But it is an error to
suppose that great buildings are directly propotional to spiritual health. Spiritual architec-
ture is concerned with the aspi~ations of individuals and groups.

4. MONUMENTAL ARCHITECTURE

"The phenomenon of death is awe - inspiring, its circumstances often pathetic, the belief
in a soul persistent and the desire for commemoration deeply rooted. The marking of a
grave is the beginning of monumental architecture. The purpose is to commemorate and
honour. The simplest, indeed the inevitable form is a mound which the emphasis appro-
priates to a mighty king, elevates into the pyramid and elaborates into the mausoleum.
Already in ancient Egypt, men are building tombs during their lifetimes to commemorate
them in death . The idea of monument is as dignification of the dead is extended into life.
Monuments are erected in honour of the living to outlasts their bodily existence. The in-
tention to remember, the complimentary status-symbol, gives monumental architecture
an honorific rote among the living, and the association with death is tactfully played down
until it is almost forgotten.

Monumental architecture is honorific in its significance and is extended from person to
institutions, to governments, corporations and banks. Death and religion being closely
associated in the minds of men, the distinction between monumental and spiritual archi-
tecture is often blurred . There is some merging of intention and significance but there is
an original difference. Spiritual architecture is related to noncorporat things monumental
architecture to people and it is important to keep this distinction in mind.

489

MONUMENTAL M ONUMENT is, by definition, committed to remembrance and so to the
appearance. The simple repose of massive earth-borne structures and trilithonic openings
are preferred to enigmatic balances and controlled thrusts. Symmetry of plan goes with
the stable symmetry of structure. Monumental architecture is concerned primarily with
the dead and may anticipated in life the honours to be paid to the departed.
5. UTILITARIAN building takes as many forms as there are purposes to be served, but .in
the past it has generally not been regarded as architecture, the reason being that it was

orsimply serving a purpose without having any other significance. Castles city walls

might be given monumental or spiritual additions, such as elaborated gateways intended
to impress the visitors and express the importance and pride of the inhabitants. Indeed
almost any building could be taken out of the utility class by giving it significance other
than its inherent function, but the design the lost its utilitarian character and assumed the
garb of another kind of architecture. Frequently this was monumental as in the great ther-
mae (bathhouse) of ancient Rome or the stables of a pretentious mansion.
UTILI TARIAN ARCHITECTURE is, by definition, dedicated to utility, and the expression
of function becomes architectural homage to a non-spiritual objective. Utilitarian archi-
tecture is materialistic. Materialism can recognize no values outside itself and the utili-
tarian is self-justifying in terms of its utility. Utilitarian architecture is the reflection of rna·
terial achievement seen as an end itself.

490

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ar~ • goofad Hou~e

491

Half- TimM- House

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492

Mediev~l Ch~teau

493

LAPLANDERS HUT INDIAN AOOBE HOU56

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NIPA HUT

AFRICAN HUT
494

USEFUL DATA

As per Filipirto- AG iaH Artthmpomerric~ ,
based 011 the MODU L OR cf '' t.e Cor~u~ter'

Z'l1d ''FlJRNICUBE " of the Author

FOOT STOOL STOOL CHAIR sec DINING TASI..E

HEIGHT u JJ! I~ ~ nl" c a Jl _I!

l.93(6'·<t) 0.16 0.27 0 .43 0.43 0.10
1.12(s·-a·) 0.15 0.25 0.40 0.40 0 .65
0 . 15 0 .24 0 . 39 0.39
1.67(5~6) 0 .23 o .3S 0 .36 o. ~3
0 . 14
I.G2(s'-4') 0 .61

! OFFICE TABLE COFFE TABL.E CARD TABL.E BAR STOOL LAVATORY

BAR STOOL

! o rI .

!

I

I,
'PERSONS ·

HEIGHT

0.733 0 .50 0. 66 o. a~ 0.59 0 .75
0 .69 0.47
1.72 (5~9) 0.4S 0 .62 O.BI 0.55 0 .10
0. G7
0.44 o.ss 0.78 O.S3 0 .68
0.64 0.76
0.52 o.~

KITCHE"J CABft-JET R A ILI NG ~MENDED

SHOULDER REST ARMPIT REST CEILING HEIGHT

-~

1.07(5 '-6) 0 82 0 .$6 LOG 1.4-0 2. 210
1.62(5'-4") 0. 9 1 2. 12
o.79 0 .79 1.03 ]. 3 1 2 .00
0.76
0.99 1.27 1.99
I. C3
495

BIBLIOGRAPHY

Architectural Design ....................... ....... .................... . Ernest p;ckedng
Architectural, Form, Space and Order ............................. . Francis D.K. Ching
The Language of Architecture ....................................... Sven Hesselgren
Intentions in Architecture .......... ..... ..... ................ ..... .. .. Christian Norberg Schulz
Existence, Space and Architecture .............. ................. .. Christian Norberg Schulz
Architecture and the Human Dimension .. .......... ... ...... .... .. Peter F. Smith

Principles of Design in Architecture .,............... .... .. ......... . Steve Tompkins
Design Methods in Architecture ............................... ... .. Geoffrey Broadbent
and Anthony Ward
(Linkages by Keith Hanson) Bruce Allsopp
A Modern Theory of Architecture .......... ... .... ...... ........... .. J . Christopher Jones
Design Methods ......... ........... .............. ... ........ ........... . Anos Rapoport
House, Form and Culture ..................... .......... ............. .

Design Concepts, a basic guidebook ....... ...................... . Gail Lynn Hartwigsen
and Allyn & Bacon Inc.
Concept Sourcebook ................ ........................... ....... . Edward T. White
Structural Concepts and Systems
T. Y. Lin and
for Architects and Engineers ....... ...... .... .. .... ......... ... .

Signs and Symbols ................................. .. ... .......... ..... . S.D. Stotesbury
Solar Energy .............................. .......... .. ................. . Broadbel]t, Burt and Jenks
The Architect's Guide to Energy Conservation ................. . Bruce Anderson
Psychology of Perception ....................................... ..... . Jarmt1 Seymour
The Hidden Dimension ..... ............................ ............... M .D. Vermon
Tropical Architecture ..... ............ ...... ... ... ... ..... ....... ...... . Edward Hall
Mechanical and Electrical Equipment Kukreja

for Buildings 6th Edition ........... ............................... McGuiness, Stein
and Reynolds
Human Factors Design Handbook . ................................ Woodson E. Wesley
Human Dimension and Interior Space .. .. .. ........ .. ....... .. .. .. . by Manero
Newsweek ............ .............. .......... ... ........... ......... .... June 18, 1984
Asian Building and Construction Magazine .......... ............. .

Library of Photography ........ ... .... ................. ......... ....... Time Life Book
Simplified Design of Reinforced Concrete ....................... . Parker
Philippine Prestressed Concrete Co. ................................. Brochure
Prescon Phils. Co. ............................... ..................... .. Brochure
Jackbilt Span-Stress .............. ............... ...................... Brochure
CICG-UDDEMAN-Siip Form Method .................... .......... Brochure

Values .. ........ ....... ..... .... ............ ... ............ ....... ......... Virgilio Yu:lon
Bulletin Today July 18, '85

Feng Shui for Business ................................................ ·Evetyn Lip

Folk Beliefs .....................,.. .... ............ .................... ... The Best of Budget Homes
Future Home .................... ........................ .............. .. Tshsnan Magazine
Elizabeth Pennisi
Bulletin Today

496

INDEX

A Centralized organization .. ........ .. .. .. ........ . . 254

Absolute proportion ................................. 106 Circle ...................... ...... ............. .......... 29
Circulation elements .. ...... ............ ............ 286
Accented rtwthm .. .. .. .. .. ............... ...... ... .. 138 Circulation space ..... .............. ........... .. .... 298
Activit* of m.n ..... ...... .. .. .. .. ...... ......... .. 3 Color ................ ......... ...... .................... 67
Cognitive skills ......... .. .. .. .. .. .. .. .. . .. ..... .... .. 397
Ac1iYity. - .. ... ·-.............. .. .. ............... 226
Color U$8ge .. . .. .. .. . .. .. . .. .. .. .. .. .. .. .. .. . .. • •.. • . 71
AdditiYe fOtfN .. ... ... ........ .. .. .... .. .. .... .. ..... 4() Combinations .. . .. ... ...... .............. . .. .... . .... .. 89
Commerce . ... .. .. .. .. ... .. ... ... .. .. .. .. ..... .. . .... .. 15
Additiw trenlfonnetiori . . .. .. .. .. .. .. .. .. .. . .. .. .. 40 Commercial . .. ... ........ . .. .... .. ... ... ... .. .. .. .. .. 21
Competitions .... .. .. .. .. ..... ... .. .. .. .. ...... .. .. ... . 143
AdjecenUNvfv* ~ .. .. ... .. .. ..... .. .. .. ... .. 248 Composite form construction system . .. .. .. .. .. . 432

Ambience ........... ...... ................. ..... 156,212 Concealment &exposure .. ................. ...... .. 390

Arnenhiell ...... ... .. .... .. .. .. ... .. .. .. .... .. .. .. ... .. - Concept .. .. .. .. ...... .. .. .. ..... .. .. ........ .. .. ..... .. 198
Analogical Deeign .".. .. . ...... .. .. .. ........... ...... 310 Concept of &pace in arch 'l theory ..... . ... .. . ... 234
Concrete ........ .................. .............. . .. .. .. 413
Anthropomorphic ..... ................................ 108 Connectors. . ... . .. ........ .. .. .... .... ......... .. ... . .. 331

Anthroohometric .... ......... ......... .... .. .. ..... . 111 meConfiguration of path ... . .. .. .. .. .. ...... .... . .. 293

Apparent megnitude .... . ..... . .. .. .................. 190 Confusion .. .. .. . .. .. .. ...... ... ... ... .... .. .. ... .. .. .. 145
Consideration. ... .. .. .. ... . ... . .. .. ... .. .... ... .. . ... . . 399
Architectural sefetv ....... .. ....... ........... .. .... 1J1 Construction administration................... ..... 341
Construction documents .. .. .. . .. .. .. .. .. . .. .. .. .. . 340
Architecturalspace .......................... ... .... 234 Context .. .. .. ... .. .. ......... ......... ..... 196, 198, 252
Contract in arch'! subject ... ....... ..... ...... .. .. .. 90
Architectural system . .. .. .. .. . ... . ... . .. .. .. .. .. .. .. . 392 Contrast ofform ..... .... .. ... ... ......... .......... 86
Contrast of line .. .. . ... .. . ... .. . ... .. .. ....... .. ... .. f!7
Articulated COfnBfS .. .. . ...... . .. . .. .... . .. .... .. .. . 54 Contrast ofsize .. .. ..... ... .. ... ... .. .. .. .. ..... . .. . f!7
Contrast of tone.... ........ ...... ..... .. ... ...... .. ... 88
Articulation oftorm .. .. .. ... .. .. .. .. .. . 49 Contrast in arch'l subject .... .. ... .... ... . .. .. .. .. .. 90
ArtHicial light & structure interact Cooteri1poTary .... ... . .. .... .. ... .. .. .... ......... ... 11
Character .. .. ....... .. .. .. ... .. ... ..... .... ... .. ..... . 151
atsubsystem level .. .. .. .. .. .. .. .. . .. . . . . .. . 403 Church .. ... ... ....... ............. .................... 14

Associated character .. ...... ....... ..... ... . . . 152 Cla8Sification of materials. .... ..... ............. ... . 451

Axis.......... .... ... ... ....... ........................ 3, 129 Climate ................. .... .............. ......... ... . 4
Closed shell . . .. .. .. ... .. .. .. .. . .. .. . .. ... .. .... .... 330
B Clustered forms ... .. .. .. .... .. ... . .. .. ... ... .. .. .. .. .. 46
Clustered .. ...... .. .. .. .. .. ......... ... .. .. .. .. ... .. .. 253
Balconies 383 Cube ...... ................ .............. ....... .... .... 34
129 Cut1ing of materials .... ... .... . ,.. .. . ....... .... .. . 322
Balance or equalization .. . .. .. .. ....... ......... . .. .. 332 Creativity .. .. .. . . ... .. .. ...... .. .. .... .. .... .. .. .. .. 205
Barriers .......... .......... .... ....................... . 273 Criticism ... ... . .. .. ........ ... .. .. ...... .... . .......... . 206
Bue plane depresse<l ...... ....................... . Cylinder .. .. .. .. ..... .. .. .... .. .. .. . ... . .. .. .. .. .. .. .. .. 33
Ba&e place eleva1ed .... . .............. ....... .. ... .. 273
Berm ........ ........ .......... . .. .. .......... ......... . D
Bi~ing or negotations ........ .. .. .. .. ........... .. 362
Biogenic symbol system .. .... .. .. ... . .. ... . . ... .. 341 Defining element . .. ...... . .. .. .. .. ... .. ... •..... .. ... 373
Biotecture and nature of materials .............. . 307 373
Bodysize ...... .. ... ....... .. ........... ......... .... . 450 Degree ofenclosure .. . .. ... .. ... .. .. .. ... .. .. .. .. .. . 206
Brainstorming .. .... ............... ........ ........ .. 396 Design analysis . .. ... .. ...... . .. .. ..... .... .. .. .. ... ..
Building ..... ... ..... .. .. ............. ... .... .... ...... . 206 Design development ................................. 340
Building approach .......... ... ... .... ............... . 411 Design from linked requirements
Building configurations......... ..... .............. .. 286 Zl7
Buidiilg entrance .. ....... .......................... . 359 in a housing problem .. ...... .. .. .... ...... .... . 210
Building envelope .................. ...... ........... . 289
Building interior ... ............ ... . .. .. .... .. .. .... .. . . 383 Design methOds and design tools . ... . .. .. .. .. .. 2f 1
Building forms concerned as space 389 Design paradigm .. ........... .. .. .. .. .. .. ...... .. .. .
Design sequence ....................... . ........... . 339
structures ... .. ...... ...... ................. .. .... .. 404 Design team .. .. .. .. .. ... .... .. .. .. .. .. .. .. .. .... .... .
Building ma1erial as expression of Dimenslonal transportation ........ .. .. .. .. ....... . m
438
architectural design ......... ........ ............ . 37

Building process 337

c

Cast in place ······· ··· ······· ····· ·· ·················· 414
Ceil«lg view ····· ········· ········ ···· ·····-··· ······· 429

497

Division of space .............................. 396, 396 G

Doors ·· ..... ........................ .... ...... ........ 373

Duality . ... ... ... .... .... .... .. .. 143, 144 Generic scale .. .. .... ... ...... .. .. .. ... .. .... ......... . 25

E Geometric .. .. .. .. .. .... .. .. ..... .... .. •. .... .... .. .. .. 209
Gestalt ... .. ... .. .. ... ....... .. .. .. ... .. .. .. .. .. . 179, D

Golden section .. ... .. ... ....... ,.. ... .. ... ... .. .. .. .. 85

Economic .. ... .. .. .. .. .. .. .. ... .. .. .. ... ... ..... 200, 436 Good taste ... ........ ..... .. ..... ... ................... 90
Glass ... ..... ................ ... ....... ........ .. ... .. 445
Economic condition ... .. ......... .. .... ........ ..... 15

Economy of materials .............................. 439 Gradation .. ..... .. .. ... .. ... .. .. .... .. .. .. .. ... .. .. .. .. . 87

Eddy . .-:.-...... .. ... ...... .............................. 363 Gravitational or picturesque ....... .. ........... .... 136

Edge & comers .. .. .......... ....... .,.. .. ... .. .. .. .. 51 Grid ....... ...... ........ .. ...... .... ............. .... .... 253

Edge to edge contract .... ... ... .. .. .. .. .. .. .. .. ... . 41 Grid forms ............................ .,... ,...,....... 48

Edges ................ ....... ......... ......... ........ . 373 Grid organization .......,... ...... ....... .. .......... 268

Education ...... .. .. .. .. .. .. ....... .. ... ........... .... 15 Ground sur1aces .. .. .. ... .. ... .. .. ... 360

Effect of cotour on form .. .. .. .. .. ... .. .. .. ....... . n H

Effects of the visible size on colour ... .. .... .. ... . 76

Effect on architecture .. .. .. .. .. ... .. .. .. .......... . 5, 7

Elements of sJte control .. .. ... .. .. .. .. . . . .. .. . 343 Handicapped users ... ................... .. ·.·....... 399
Haptic .. .......... ...... ..... .... ... .... .. ... .. ... ....... 308
Solar shading in summer .. .. .. ..... . ... .. .. . 343 Hearing ..... .................. ... .. ..... ... .. .. ........ 398
Height in place .. .. .. .. .. .. .. .. .. ... .. .. .. ... .. .. .. .. . 192
White roofs & desert cooling .................. 346
Hidden zones in american offices .. .. .. ... 276, 2n
Passive solar planning ..... ....... ............... 348
Hierarchy .... .. ....... .... .... ................. .... . 146
Natural heating & daylighting .. .. .. .. .. .. ... 350 Honesty of expression .. ..... .......... ... ...... .. .. 438
Horizontal disposition .. .... .. .. ... ... .. .. .. .... .. .. 216
Windowless building .... ..... .. .. .. .. ... .. .. .. . 352 Hu":lan architectural interfaces .. ..... ... .. .. .. .. 466
Human needs.......... ...... ......................... 466
Utilization on natural growth .... .. ... .. ... .. .. 353 HuI'Tl8f1 factors .. .. .. .. .. .. .. ........ .. .. ... .. .. ... .. 458
Human scale .... .. ... ...... .... ...... ......... .. .... . 176
Equipment on the roof .. .. .. .. .. .... ... .. .. ... 356

Utilization of water & air ...... .......... ........ 357

Thermisiphoning ..... .... .. .. .... ......... .... ... 358

Emotional needs .... .... ... .. .. ... ............ ..... . 2

Emphasis ... .. ..................... ....... .... .... .. .. 162

Enclosure .. .. ... .. .. .. .. .. .. ... .. .. .. .. .. .. .. .. .. .... . 200

Enclosure !Building en velope).. ...... .. ... ..... .. 385

Energy and architectural design ....... ,.. . ... ... 336 Illusions of depths .... .. ... .. .. .. .. .. .. ... ..... .. .. .. . 188
Impossible figures .. .......... .. .. . ... .. .... .. 176, 177
Energy consumption on buildings ............... 336 Indigenous materials... .... ..... ........ .. .... .... ... 451
lndt~xicel sign or index ... ..... .. .. .... ....... .. ,... 301
Environmental planning .. .. .. .. .. .. . ...... .. .. ... 341 Industrial............... .. ..... .. ... ..... ... ..... ,... .... 71
Inherent quality ... ... ... ... ... .. .. .. ... ... ..... .. .... fi1
Ergonomics . .. .. ....................... ... ... .. ... 238 Information .. ........ .... .. .. .. .. .. .. .. .. ..... .. .. .. . 211
Innovations in airport design .. .. ... .. .. .. .. ...... 222
Evaluation .. ... ........... ... ... .. ... .. .. . . . 212 Influence of man ... .. ............ ............ ... .. .. 9
Influence of nature .. ... .. ... .. .. .. ... .. .. ... . 5, 6, 7, 8
Evaporate cooling ... ... .................. .. .. .. .... . 346 Institutional .. ... ... .. .. ... ... .. .. .. .. ... .. ... ... .. ... 73
l11tellectual needs .. ... .. ... .. .. ... .. .. ... .. .. .. .. .. . 2
Excepti_onal size ...... .. .......... .. ........ .......... . 146 Interlocking space ................................. ... 247
Interlocking volumes... ....... .......... ............. 41
Expression ...... .. ... .. .. ..... .. ... .............. .. .. .. 309 Invisible structure .. .. . ........ ..... ...... ..... ..... 18
Iconic signs .. ...... .. .. ....... .. .. ..... .. .. .. ....... . 302
F Irregularforms ..... .. .. ..... ......... ........ ..... .. . 35

Face to face contact .. .. .. .. .. .. .. .. .. .. .. ... ... .. . 41 J

Family structure .. .... ................ ......... ........ 458 Job pattern..... .. .......... ........ ... ... .. ...... ...... 458
Joining elements ...... ............. .. .. .. ... ........ 324
Figure ground .. .. .. .. ... .. .. .. .. .. .. ........ .. .. .. 168 J uKtaposition ... ...... .. ... .. •.......... .. .... .. .... 66,68

Filled and empty distance ......... ........ .... ...... 186 K

Filters .. .. .... ... ........ .... .... .... .......... .. .. ... .. . 332 Ken .. .. .. .... .......... .. ... ........ ,. .. .. .. . . .... 107
Kinesthetic ... ... ......... .. ... .. ....... .. .... .. . 168, 167
Fitting together ............. ....... ..... .. .. .. .. ...... 323 Kinesthetic qualities of space .... ......... ..., .... 275

Folk architecture .. .. .. .. .. ... .. .. .. .. .. .. .. ... .. .. .. 479 l

Folk betief in construction ... ...... .. .. .... .. .. .. . 475 Learned symbols ... .. .. .. .... ... .. ... .. ... .. .. .. ... . 3117

Form ... .... ..... ......... ... .. .. .. ... ........ ...... . 19, 22

Forms and images ....... -·... .. ...................... 284

Forms of the circu lation space ......... .... .... .... 297

Form shape and appearance .. .. .. ..... ... .. .. .. . 411

Function ............................... ................. 200

Functional character .... ..... ....... ................. 151

Functional design .. ... .. .. ... .. .. ... .. .. ... .. .. .. .. .. 225

Functional grouping & zoning ...... ......... 216, 286

Fusion... ........ ......... ..................... ... ....... 325

Futurehome ........ ....... ......... ...... l7

Floor & ceiling plane concepts ........... ...... .... 384

Auctuation ................... .. .... ......... ........... 186

FFrraemncehwroernka$i~ ~~~ .. :·::::: :::::::::::::::::::::·:: ::: 324
10

Frontal .. .. .. ... .. .. ... .. .. .. . .. .. .. ......... ...... .. .. '1If1

498

Le<~ther ... .. .. . .. . .. .. .. .. .. .. .. .. . ... . .. .. .. .. .. .. .. .. 442 Pa.sive solar planning . .... .. .. .. .. .. .. .. .. ... .... .. 348
Level CO\Intry .. . .. .. .. .. .. .. .. .. . .. .. .. . .. .. ... . .. .. .. . 8
Lift slab building system . .......... ......... . .. ... . 418 Path space relationships .. ..... .. ... .. .. .. .. .. .. ... 296
Light .. .. .. .. ... .. .. ... ... .. ... .. ... ...... ........ .. .. .. 375
Linear ................ ........ .... ,........ .. ... .. .. ... .. 253 Personal character............ ...... .. ................ 154
Linear forms ............................... . ....... 43
Linear organization .. .. .. .. .. .. . .. .. .. .. .. .... .. .. . 225 Personal space ... .. .. .. .. .. .. .. .. .. .......... .. ... .. . 460
Line generated . .. .. .. .. .. .. .. .. . .. .. .. .. .. .. .. . 282, 283
Linkages ................ ...... .................... .. 227,285 Personalization ......... .... .... ....... ........ ..... .. 466

Perception of object .. .. ... .... ....... ........ ...... . 167
Perception ofshape .. ...... ........ ...... ....... ... 167

Perception ofspace .... .... ........ .... .......... . . 185

Perceptual quality of the desjgned

environment .. .. .. .. .. .. .. .. . .. .. .. .. .. .. .. .. .. .. . 466

M Position .. .. .. .. .. .. .. .. .. .. .. .. .. .... . .. .. .. .. .. .. . .. .. 24

Powered louvers to diminish

Macro group .......................................... 466 heat gain ... .. ... ...... .. .... .. .. .. .. .... .......... 345

Mall .. .... ........... ... .. .... ............... .... .. .. .. . 297 Physical n4J&ds ...... .. .. ... .. .. .. ...... .. .. .. .. .. .. .. 2

Manufactured proportions . . ... .. . .. .. ..•. .. .. . ... 102 Physical space ... .. ......... .. .. ...... .. ... .. .. .. .... Z37

M811boro box to box design contest . ... .. . .. .. . 209 Plan configure~tion . ... .. .. ... .. ... .... .. ... ... . .. .. .. . 55
Plan configuration scheme .. ......... .... .. .. .. ... 160
Mass ........ .......... ..... ... ..... ..... ...... ... 19 Planning .. .. . .. ...... . . . .. .. .. ...... .. .. .. . . . . 323

Materials... ...... ... .... .. ...... .. .... .. ....... ..... .... 9

Mechenical electrical system ................. ,. .. 288 Platonic solids ..... .. .. .. ... .. .. .. .. .. .. .. ... .... . .. . 32

Mechanical structural integration . .. ... . .. .. .. .. 288 Pragmatic design . .. . .. .. .. .. .. .. .. .. . .. .. .. .. .. .. .. . 308

Metal ................ .. ....... ................ .......... 422 Precast in concrete .. ....... ....... ... ... .... .. .. ... 415

Methodology .......... .. ............... ...... .. ....... 210 Precast waffle slab system ........... ............. 429

Micro group .. .. ... .. .. .. .. .. .. .. ... .. .. .. . ... . ... . 466 Prestressed concrete.... ....... .. ..... .. .. ..... ...... 423

Milieu ....... .... ....... .............. ..... ....... ....... 158 Prestatement ......... .............. ........ ..... ".... 211

Mobility .. .. .. .. .. .. .. .... .. .. .. .. .. .. . . .. ... .. 392, 399 Priorities .. .. .. .. ... .. .. .. .. .. .. .. . .. .. .. .. .. .. ...... .. .. 336

Mode of .construction or structural Princioles .. .. .. .. ..... .. . ...... ... .. .. .. .... ...... .. . . 161

pl'op<) rtion .... .......... .. .. .. .. .. .... .. .. .. ... .. 103 Principle related to function . .. .. .. .. .. .. . ...... .... 216
Modulor .. : ............ ............ .. .. .':... ~.......... . 110
Prism sculptures .. .. ... .... .. ....... ,.... ..... .. .. .. 203

Monocular cues to depth .... .. .. .. .. .. .. .. .. .. . .... 189 Primary shapes .. .. .. ...... .. .. .. .. .. . ... .. .... .... ... 28

Monumental architecture ............. .............. 480 Privacy . .. ... .. .. .... . .. ... ....... ... ... .. ... .. .. .. . 467

Motor skill .. .. .. .. .. .. ... .. .. .. .. .. ... .. .. .. .. ... .. .. .. 397 Problem statement 211

Movement through space .. . .. .. .. .. .. .. .. .. .. .. . 286 Promenade .. .. .. . .. 297

Mountain regions . .. .. .. .. .. .. . .. .. ... . . ... . .. .. . 8 Proportion ............. 85, 150, 119

Multi-usa of space. .. ...... ... ........ ................ 392 Proximity .............. ........ .... .. .. .. .. ...... .. ... 186

N Process ofspace organization .. .. .. ... .. .... .. .. .. 243

Properties of enclosure ...... .. .. .• . .. .. .. .. .. .. .. .. 372

Natural heating & daylighting ... .... .. ...... .. ... . 350 Psychological effects of color .. .. ............ .... . 70
Natur81 light and structure Interact
403 Psychological blocks ..................... ............ 2!J7
at overall level ... .. .. .. .. .. .... .. .. .. ....... .. .. .. 101
Psychological factors ........ ............... ....... 179
Natural material proportion .. .. .. .................. 2
Necessities .............................. ............... 447 Psychological considerations .. .. .. .. .. .. .. . .. .. .. 458
New meterials .. .. .. .. .. .. ... .. .... ..... ... ... .. .. .. . 480
Notional.... ...... .............. ... .... .. .... ... ....... Psychological & social space .. ... ...... .. .. .. .. .. 460

Q

Qualities of architectural space .. .. .. .. .. .. .. .. .. 372

0 R

Oblique . .. .. .. ... . .. . .. .. . . .. .. .. .. .. ... .. . .. .. .. .. .. .. 287 Radial .. .. . . . .. ... .. .. .. . .. .. .. .. .. .. .. . .. . 134, 253, 295
Radial forms .. ............................... ....... 253
Occupancy ..... .......... .. ............. ............... 341 Radial organization .. .. ... .... ........ .. ... .... .... . 2'57
Recreational pattern .. .. ..... . .. .. .. .. . .. . .... .. .. ... 458
Open frames ........................ ..... .. .... .. .... . 330 Refurbishment .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 437
Regular forms .... .. .. .. ... .. .. . .. ... ..... .. .. .. .. .. . 35
Opening in spa<:e defining elements .... ... .... . 373 Rehabilitation........ .. . ...................... .... .. .. . 15
Relations........... .. ........ .. .. ........... ......... . .. 98
Openings .... .. ... .... ... .. ....... .. .. .. .. .. .. .. .. 373. 382 Reliability ............................................. 466

Openings within places movement . ... .. .. . .. .. .. 382 Relative size ................ .......... ............... .
Roof ............................. .. ..... .. .. ........... 414
Orientation .. .. .. .. .. .. .. .. .. .. .. .. .. 25, 348
s
Organic ........ .. ................. .. ...... ... .. . . 161

Organizational process .. .. .. .. . .. .. . .. .. .. .. .. . .. . 141

Orientation to the sun ... .. ... .. .. .. .. .. .. .. .. .. .. .. 285

Orientation to the wind .. .. . .. .. .. .. .. .. .. .. .. .. . .. . . 350
Overhead plane elevate~;! .. .. .. .. .. .. .. .. .. . .. .. .. .. 373

Overall approach to structural

education .................. ........... ............. 400

p Safety color guides .. ...... .. .... .... ... .. . .. .. . .. .. 72
Salubriousness .. .. .. ... .. .. .... .. .. .. .. .. .. .. .. .. .. .. 473
Pll8dox of depth .. .. .. .. .. .. .. .. .. ............. .... . 184 Scale ..·............. ...... . ........................ ..... 126

499

Sernantii:s .. .. ...... .. .. . .. .. .. .. .. . ..... .. ..• .. .. .. .. . 330 Textile. ..................................,........_ ., . 447

Sensory factors .. .. .. .. .. .. .. .. .. ...... ... .. ....... .. 397 Texture . ....................... .. . ...... ........... .... 61
ThefiTlOIIfphoni"9 .... .. .. .. ........................ . 358
Sensory perception ...... ........ .. .... .. .. .. .. .. .. . 329 Tone ........................ .. .... .. . .... ... .... . .... . 65
Topography ... ....... .. .. ...... ... ........ .... ...... . 8
Similarity .. .. .. .. .. .. ... .. .. .. .. ... ... .. .. ..... ..... .. 89 Transportation ..... .... ... ..... ........ .. .. ....... ... 115

Sigl'\81 & sign .. .. .. .. .. .. .. ... .. . .. ... .. ...... .... . 301 Transformation ............. ...... ....... ............ . 163

Site development .. .. .. .. .. .. .. ...... .. .... .... .. .... 343 Transition .................. . .. ........... .... . . .. .... . 164
Triangles ...................... .. ... ..... .. ......... . ... . 38
Site selection .. . .. .. ... . .. .. .. .. .. . ... .. .. .. . .. .. .. .. . . 342 Typologie design ...... .. .. ...... .. .......... ... .. .. . 309

Size................... .. ............ .. .. .. .. .. ........... 125

Social conditions .. . .. .. .... .... .. .. .. .. . .. .... .. 9

Scx:io cultural variables........... ................... 456

Solar altitude in summer .. .. .. .. .. .. .. .. . .. .. .. .. .. 354

Solar shading in wmmer .. .. .. .. .... ... .... . ...... . 343 u

Subtractive forms .. .. .... .... .... ..... .. .. ...... .. ... 38

Subtractive transformation .... ... .. ........ ....... 38 Unaccented rhythm ...................... .... ....... 138
Underground structures ...... ...... ....... .. ... ... 361
Surface .. .. .. .. .... .. .. ...... .. .. .. .. .. .. .. .. .. .. .. .. .. 372 Uniformity & diversitY .. .. . .. . .. .. .. .. .. .. ..... . .. . 392
Unique shape ............................. .,.. .. ... 147
Schematicdesign .. .. .. ......... ......... .... .. ...... 338 Unity .. ................. ... ... .. .... ........... .... .. ... 142
Unsymmetrical ..... .............. ............... . 134
Slip form ... .......... .. .. .. .. .. .. .. .. .. .. .. .. .. . . 43 Users requirements .. .. .. .. .. .... .. .. ........ .. .. .. 392
Utilization of natural growth...... .................. 353
Slump test .... .... ................... .. .. ... .... .. 415 Utilization of water & air .. .. .. .. .. .. .. .. .. .. . ... .. . 357
Util ization .. .. .. .. .. .. .... .. .. .. .. .. .. .. .. .. .. .. .. . 481
Space........... .. . . ...... .......... ... . ... .. ... 237 Users population characteristic . . .. .. .. ... . .. .. 396
User efficiency .. .. ..... .... ...... ...... .. .. .. .. .. .. .. 397
Space to space relationship . .. .. .. .. .. .. .. .. .. . . ... 246

Space articulations .... .. .. .. .. .. .. .. .. .. . .. .. .. .. . 265

Space frame . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . .. .. . 234

Space to circulation relationship .. .. .. . ... . .. .. .. . 284

Space to circulation linkage .. .. .. .. .. .. .. .. .. .. .. .. 285

Spanstress .. .. ...... ..................... .............. 427

Spatial organization ............................. .... 251

Spatial perception .. .. .. .. .. .. .. .. .. .. .. .... ...... .. .. 239

Spatial tension .. .. .. .. .. .. .. .. .. .. .. .. .. .. .... .. .. .. . 41 v

Spatial qualities ... .. .... .. .. ... .. . ... . .. .. .. . .. . 243

Spiral .... .... . ..... .......................... 295 Value ........ .......... .. .............. ... .... 468
468
Square ... .......... .. .... ........ .. . .. .. ... .... 27. 312 Value aspiration & culture .. .. .. .. .. .... .. .. .. . . 171

Stability .. .. . ......... ... .. .. .. .. .. .. .. . .. . .. .. .. .. .. .. . 398 Vanity ...................... . . ...................... 273
479
Stages in designing . .. .. .. . .. ... . ... .. . .. .. .. .. . ... . 206 Vertical plane........... .... ........................... 379
380
Strategic location .. .................. .... .. .. .. ... ... 147 Verr.acular .. .. .. .. .. .. .. .. . .. .. .. .. .. .. .. .. .. .. .. .. .. ..
397
Stairs . .. .... ....... .... .... ... . .. . .. .. ... ...... ..... .. . . 299 View ................. ..................................
187
Stereoscopic .. .. .. .. .. .. .. .. .. . .. .. .. .. .. .. .. .. .. .... . 166 View from site .......... ...... .. .. .. .. .. .. .. .. .. .. .. .
314
Stone .. ... ......... .... .. .......... ..................... 441 Vision.. ...... .. ........................... .. .. ..........
382
Strength ........................... .... ................. 397 Visual depth ........... .. .... .... .... .......... .. ..... 440
22
Structural forms .... .. .... .. .. ... ................ .. . 431 Visual expression of f unction .. .. .. .. .. .. .. ....... 26
100
Structural & other sub•system.... .. .... .... .... .. . 10 1 Visual expression of production .. .. .. .. .. .... .. ..

Structural & engineering .. .. .... .. ...... .. .. .. . .. 400 Visual expression of materials .. .. .. .. .. .. .. .. .. . ..

Symbols . . . . . ...... ......... .. .. .. . .. ... .. ... .. 306 Visual properties of form .. .. .... .. .. .. .. .. .. .. .. .. .

Symbolism ............................................. 306 Visual inertia .. . .. .. .... .. . .. .. .. .. .... .. .. .. . .. .. .

Synthesis ..... .... .. .... ............ .. . .. .. ..... .. . 212 Visual or optical illusions .. ... .. .... .... .. .. .. .... ..

Skylights......... .... ...... ... ........ . .... ... . . . 386

T w

Taste 88 Wall concepts .. .. .. .. ........ . .. .. .... .. .. .. .... ... . 282
Technological experience ... ... ... .. .. .. . ... .. ... .. . 458 Wab panel joints ................................ .. .. 424
Temperature ......... ........... .. .................. .. 369 WIOdow opposite side ............ .. ... ...... ..... . . 362
Temperature climate .... .. .. ... .................... . 330 Windowless building.............. ... . .. .. .... ..... . . 352
Tent.... ... ..................... .... ...... .... ........... . 330 Window location ........................... .. .... .. 362
Tentative solution ....... ........................... 206 Whining triangle ... ..... .... ........ ............... . 124
Terminate in a space .... .. ................. .... .. .. .. 296 White roof8 & desert cooling ............ .. ... .... 348
Territoriality ...... ... ....... .. ........ .. ............ . 464 Wood .. ... ............................................. . 440

Answers To How good is your taste? Answers To How artistic are you ?

1. A 6. A 11 . B 1. B 5. A
2. B 7. A 12. B 2. B 6: A
3. A 8. B 13. A 3. A 7. B
4. B 9. A 14. A 4. A 8. A
5. A 10. B

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