ARCHITECTURAL DESIGN 1

INTRODUCTION TO DESIGN

College of Engineering and Architecture

 Course Study Guide Contents
Week No. Module Topic Page

1-4 Introduction to the Concept of “Design” 6

Formulation of Ideas, Problem Solving Activities 39

5-8 and Presentation of Solution

9-12 Elements of Architecture 52

13-16 Geometry and Shapes; Scale, Size, and Proportion 69

Editorial Office

Course Developer Ar. Freeli P. Berame

Content Experts Ar. Freeli P. Berame

Language Editor Kyzyl Elny N. Yap, RL,MLIS

Dr. Aileen – Basiga - Catacutan

Design/Media Specialist Ar. Freeli P. Berame

Disclaimer Statement:

This Course Study Guide is not intended to be presented as the original work of the module compiler. It is
meant to be the primary reference material for the course composed of the flexible learning syllabus,
learning plans, course content, and assessments compiled from various sources. Accordingly, the sale and
distribution of such outside the University of the Visayas is strictly prohibited.

2
e
 Flexible Learning Course Syllabus

Flexible Learning Course Syllabus

College of Engineering and Architecture

Bachelor of Science in Architecture

Semester/Term: First Semester SY 2020-2021
I. Course Information
Course Code
AR 0110 Course Design fundamentals involving basic creative design exercises
Description with emphasis on space, form and mass.
Course Title Architectural Design 1-
Introduction to Design
Prerequisite(s)
Course 1. learn the nature of architecture by enabling then to
None Learning discover their ability to manipulate basic forms and
Outcomes shapes into the basis of architectural form
Credit Unit
2 Units: 2. discover shapes and its translation into mass, form and
shape
1 – Lecture (1 hour) 3. learn the basis of architectural design
1 – Studio (3 hours)
4. express their creativity and skill through manipulation of
shapes and forms to achieve the basis of architecture
II. Instructor's Information

Instructor Name
Ar. Freeli P. Berame Corporate Email [email protected]

Title:
Full-time Faculty Phone 09778800072

III. Course Syllabus

Week No. of Module Topic Intended Learning Learning Materials and Resources Mode of Assessment
No. Hours Outcomes Instruction/ Task/
Delivery Tools Graded
Required Suggested Output
16 hours Introduction to the  define the Lesson1. Course  Ching, Francis D.K.  Course Packet Design Plate
total concept of “DESIGN” importance and Module (2015). Architectural - Printed No. 1, 2, 3
meaning of on Architectural Graphics (6th ed.). John - Digital (Design
4 hours Sub-topic 1: “Design” Design 1 – Wiley & Sons Inc.  Remote Online Concepts,
Self-directed Introduction to Elements  identify forms Introduction to  Ching, Francis D.K. Tools Drawings and
learning & of Design focusing on and shapes Design (2014). Architecture: - MS Teams Model)
12 hours Visuals (lines, present in every College of Form, Space, and - Google
studio with movement, space) Design Engineering and Order. John Wiley & Classroom
assessment  design a Architecture. Sons Inc. & Meet
tasks framework using University of the  Ching, Francis D.K., - Zoom
Sub-topic 2: the correct Visayas Juroszek, Steven P.
Introduction to Elements design process (2010). Design Drawing
of Design focusing on  Defend the (2nd ed.). John Wiley &
Forms design concepts Sons Inc.
using design  First in Architecture.
statements and How to Develop

3
 design process Architectural Concepts.
Retrieved from
http://www.firstinarchit
1-4
ecture.co.uk/how-to-
develop-architectural-
concepts/
 Dietrich, K..
Architectural Design
Elements. Retrieved
from
http://www.kdietrich.co
m/thesis/d9a-
research/section%207%
20design%20elements/
section%207%20design
%20elements.pdf
 Craven, Jackie.
"Architecture,
Geometry, and the
Vitruvian Man."
ThoughtCo, Aug. 26,
2020,
thoughtco.com/geometr

3
 y-and-architecture-
178081
16 hours Formulation of  Make use of Lesson 2. Course  Ching, Francis D.K.  Course Packet Design
total Ideas, Problem regular/everyday Module (2015). Architectural - Printed Plate No. 4,
Solving Activities materials as on Graphics (6th ed.). - Digital 5
4 hours and Presentation of elements of Architectural John Wiley & Sons Inc.  Remote (Design
Self- Solution design Design 1 –  Ching, Francis D.K. Online Tools Concepts,
directed  Manipulate forms Introduction to (2014). - MS Teams Drawings
learning & Sub-topic 1: to achieve Design Architecture: Form, - Google and Model)
12 hours Conceptualization correct design College of Space, and Order. Classroo
studio with outputs Engineering John Wiley & Sons m & Meet
assessment Sub-topic 2:  Apply color, and Inc. - Zoom
tasks Approaches to Design texture, line, Architecture.  Ching, Francis D.K.,
value, shape, University of the Juroszek, Steven P.
and other design Visayas (2010). Design
theories in Drawing (2nd ed.).
making a designs John Wiley & Sons Inc.
 Defend the  First in Archtitecture.
design How to Develop
concepts using Architectural Concepts.
design Retrieved from
statements http://www.firstinarchit
5-8 and design ecture.co.uk/how-to-
flows develop-architectural-
concepts/
 Dietrich, K..
Architectural Design
Elements. Retrieved
from
http://www.kdietrich.co
m/thesis/d9a-
research/section%207%
20design%20elements/
section%207%20design
%20elements.pdf
 Craven, Jackie.
"Architecture,
Geometry, and the
Vitruvian Man."
ThoughtCo, Aug.
26,
2020,
thoughtco.com/geometr
y-and-architecture-
178081.
16 hours Elements of  Create a Lesson 3. Course  Ching, Francis D.K.  Course Packet Design
total Architecture design Module (2015). Architectural - Printed Plate No. 6,
element using on Graphics (6th ed.). - Digital 7
4 hours Sub-topic 1: knowledge of Architectural John Wiley & Sons Inc.  Remote (Design
Self- Introduction to previous Design 1 –  Ching, Francis D.K. Online Tools Concepts,
directed Principles of Design, lessons/topics Introduction to (2014). - MS Teams Drawings
learning & Order and ordering  Write design Design Architecture: Form, - Google and Model)
12 hours Elements concepts using College of Space, and Order. Classroo
studio with knowledge of Engineering John Wiley & Sons m & Meet
assessment design and Inc. - Zoom
tasks elements Architecture.  Ching, Francis D.K.,
 Defend the University of the Juroszek, Steven P.
design Visayas (2010). Design
concepts using Drawing (2nd ed.).
design John Wiley & Sons Inc.
statements  First in Archtitecture.
and scale How to Develop
models Architectural Concepts.
Retrieved from
http://www.firstinarchit
9-12 ecture.co.uk/how-to-
develop-architectural-
concepts/
 Dietrich, K..
Architectural Design
Elements. Retrieved
from
http://www.kdietrich.co
m/thesis/d9a-
research/section%207%
20design%20elements/
section%207%20design
%20elements.pdf
 Craven, Jackie.
"Architecture,
Geometry, and the
Vitruvian Man."
ThoughtCo, Aug.
26,
2020,
thoughtco.com/geometr
y-and-architecture-
178081.
16 hours Geometry and Shapes;  Create a design Lesson 4. Course  Ching, Francis D.K.  Course Packet Design
total Scale, Size, and concept Module (2015). Architectural - Printed Plate No. 8,
Proportion applying on Graphics (6th ed.). - Digital 9
4 hours geometrical Architectural John Wiley & Sons Inc.  Remote (Design
13-16
Self- Sub-topic 1: shapes Design 1 –  Ching, Francis D.K. Online Tools Concepts,
directed Repetition, Rhythm,  Apply scale, size Introduction to (2014). - MS Teams Drawings
learning & Balance, Symmetry, and proportion Design Architecture: Form, and Model)
12 hours Harmony and Pattern in every design Space, and
studio with
4
 assessmen  Apply College of Order. John Wiley & - Google
t tasks geometrical Engineering Sons Inc. Classroo
shapes in design. and  Ching, Francis D.K., m & Meet
 Discuss the Architecture. Juroszek, Steven P. - Zoom
design University of the (2010). Design
concepts using Visayas Drawing (2nd ed.).
design John Wiley & Sons Inc.
statements  First in Archtitecture.
and design How to Develop
flows. Architectural Concepts.
Retrieved from
http://www.firstinarchit
ecture.co.uk/how-to-
develop-architectural-
concepts/
 Dietrich, K..
Architectural Design
Elements. Retrieved
from
http://www.kdietrich.co
m/thesis/d9a-
research/section%207%
20design%20elements/
section%207%20design
%20elements.pdf
 Craven, Jackie.
"Architecture,
Geometry, and the
Vitruvian Man."
ThoughtCo, Aug.
26,
2020,
thoughtco.com/geometr
y-and-architecture-
178081.

IV-A. Points for Graded Output IV-B. Grade Equivalent Based on Points Earned
Module
Course Week Points Points Earned Grade Points Earned Grade
Topic
Output
100% 1.0 87% 2.0

1 Minor Task 20 99% 1.1 86% 2.1

98% 1.2 85% 2.2
97% 1.2 84% 2.3
2 Minor Task 20 96% 1.3 83% 2.4
95% 1.4 82% 2.4
94% 1.5 81% 2.5

3 Minor Task 20 93% 1.6 80% 2.6

92% 1.6 79% 2.7
91% 1.7 78% 2.7
4 Major Task 40 90% 1.8 77% 2.8
89% 1.9 76% 2.9
Total 88% 2.0 75% 3.0
INC is given if the final grade is 2.5 or better but missing any two of the course requirements listed above. INC should be
complied within 365 days immediately after the close of the Semester.

V. Approval
Prepared by Reviewed Approved by
by

AR. FREELI P. BERAME DR. AILEEN B. CATACUTAN AR. ADELINE C. LAURON

Instructor Program Chair Librarian Dean

5
Lesson 1

INTRODUCTION TO THE CONCEPT OF “DESIGN”

Google Image

At the end of the lesson, the student should be able to:

1. define the importance and meaning of “Design”

2. identify forms and shapes present in every Design
3. design a framework using the correct design process
4. Defend the design concepts using design statements and design process

6
 College ENGINEERING AND ARCHITECTURE
Program B.S. in ARCHITECTURE
Course Code ARCHITECTURAL DESIGN 1
Course Title AR 0110
2 Units:
Credit Unit 1 – Lecture (1 hour)
1 – Studio (3 hours)

Lesson 1 WEEK 1- 4

Module Topic Introduction to the concept of “DESIGN”

At the end of the lesson, the student should be able to:define the importance and meaning of “Design”
Intended 1. Define the importance and meaning of “Design”
Learning 2. Identify visual elements and forms in every Design
Outcomes 3. Design a framework using the correct design process
1. Defend the design concepts using design statements and design process
Number of Hours 16 hours total (4 hours Self-directed Learning & 12 hours Studio with Assessment Tasks)
1. What is Design in relation to Architecture?
2. What is the purpose of Design in the field of Architecture?
Study Questions
3. How important are visual elements and forms in design?
4. How to present your design?
Required Suggested
 Ching, Francis D.K. (2015). Architectural Graphics (6th ed.). John Wiley & Sons Inc.
Lesson 1. Course Module on  Ching, Francis D.K. (2014). Architecture: Form, Space, and Order. John Wiley & Sons
Architectural Design 1 – Introduction Inc.
to Design. College of Engineering and  Ching, Francis D.K., Juroszek, Steven P. (2010). Design Drawing (2nd ed.). John Wiley &
Learning Architecture. University of the Visayas Sons Inc.
 First in Architecture. How to Develop Architectural Concepts. Retrieved from
Resources
http://www.firstinarchitecture.co.uk/how-to-develop-architectural-concepts/
 Dietrich, K.. Architectural Design Elements. Retrieved from
http://www.kdietrich.com/thesis/d9a-
research/section%207%20design%20elements/section%207%20design%20elements.pdf
 Craven, Jackie. "Architecture, Geometry, and the Vitruvian Man." ThoughtCo, Aug. 26,
2020, thoughtco.com/geometry-and-architecture-178081.

Learning Activity 1. Student shall study and learn Lesson 1 on Introduction to the concept of “DESIGN” and its subtopics.
Student may refer to the suggested and other recommended learning materials indicated in this
Course Study Guide as additional reading resources.
2. After studying and learning the topics in Lesson 1, the student shall make Assessment Task 1, 2, and
3 found in every interval of topics.

1. Written Design Concepts

Required Output
2. Design Drawings
3. Design Models

1. Design Plate No. 1

Assessment Tasks
2. Design Plate No. 2
3. Design Plate No. 3
Assessment Tool Architectural Design Assessment Rubric
Target
Creativity & Innovation, Critical & Analytical Thinking, Effective Communication
Competency

Prepared by: Reviewed by: Approved for use:

AR. FREELI P. BERAME AR. ADELINE C. LAURON AR. ADELINE C. LAURON

Faculty Program Coordinator Dean

7
INTRODUCTION

Architecture is generally conceived-designed-and realized-built-In response to an existing set

of conditions. These conditions may be purely functional in nature, or they may also reflect in
varying degrees the social. political, and economic climate. In any case, It Is assumed that the
existing set of conditions-the problem-ls less than satisfactory and that a new set of
conditions- a solution-would be desirable. The act of creating architecture, then, is a problem-
solving or design process.

The initial phase of any design process is the recognition of a problematic condition and the
decision to find a solution to it. Design is above all a willful act, a purposeful endeavor. A
designer must first document the existing conditions of a problem, define its context, and
collect relevant data to be assimilated and analyzed. This is the critical phase of the design
process since the nature of a solution is Inexorably related to how a problem is perceived,
defined, and articulated. Piet Hein. the noted Danish poet and scientist puts it this way: "Art is
solving problems that cannot be formulated before they have been solved. The shaping of the
question is part of the answer.

Designers inevitably and instinctively prefigure solutions to the problems they are confronted
with, but the depth and range of their design vocabulary Influence both their perception of a
question and the shaping of Its answer. If one's understanding of a design language is limited,
then the range of possible solutions to a problem will also be limited. This book focuses,
therefore, on broadening and enriching a vocabulary of design through the study of its
essential elements and principles and the exploration of a wide array of solutions to
architectural problems developed over the course of human history.

As an art, architecture is more than satisfying the purely functional requirements ofa building
program. Fundamentally, the physical manifestations of architecture accommodate human
activity. However, the arrangement and ordering of forms and spaces also determine how
architecture might promote endeavors, elicit responses, and communicate meaning. So, while
this study focuses on formal and spatial ideas, it is not intended to diminish the importance of
the social, political. or economic aspects of architecture. Form and space are presented not as
ends in themselves but as means to solve a problem in response to conditions of function,
purpose, and context-that is, architecturally.

The analogy may be made that one must know and understand the alphabet before words can
be formed and a vocabulary developed; one must understand the rules of grammar and
syntax before sentences can be constructed; one must understand the principles of
composition before essays. novels, and the like can be written. Once these elements are
understood, one can write poignantly or with force, call for peace or incite to riot, comment on
trivia or speak with insight and meaning. In a similar way, it might be appropriate to be able
to recognize the basic elements of form and space and understand how they can be
manipulated and organized in the development of a design concept, before addressing the
more vital issue of meaning in architecture.

8
In order to place this study in proper context, the following Is an overview of the basic elements,
systems, and orders that constitute a work of architecture. All of these constituents can be perceived
and experienced. Some may be readily apparent while others are more obscure to our Intellect and
senses. Some may dominate while others play a secondary role in a building's organization. Some
may convey images and meaning while others serve as qualifiers or modifiers of these messages.

In all cases, however, these elements and systems should be interrelated to form an integrated whole
having a unifying or coherent structure. Architectural order is created when the organization of parts
makes visible their relationships to each other and the structure as a whole. When these relationships
are perceived as mutually reinforcing and contributing to the singular nature of the whole, then a
conceptual order exists-an order that may well be more enduring than transient perceptual visions.

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 Assessment Task

Design Plate No. 1

General Instruction: Use one piece A3 size or half-cut (crosswise) cartolina paper for Task 1 and 2.
Task 1 will be written in a well-formatted way and apply lettering as much as possible. Arrange the
task 1, 2, and 3 as to present it aesthetically.

1. WRITTEN DESIGN CONCEPT

Directions:

Compose a title for your concept.

Using any existing object as sample base form, design a new form and write the Design Concept in
essay form (minimum of 200 words). Discuss in the concept why you chose the object as base form
and the design process on how you arrived with the final form.

2. DESIGN DRAWING

Directions:

Express your Design Concept and Design flow through freehand drawing.

3. DESIGN MODEL

Directions:

Make a miniature model of your final Design. Reusable materials must be considered. Materials to be
used depends on your model composition:

- Illustration board, cardboard, unused folders

- Joining tools (Glue, masking tape, adhesives)
- Wood sticks
- Reusable Materials (plastics, etc.)
- Cutting tools

13
 Architectural Design Assessment Rubric
NOTE: This rubric will be rated by your Instructor only!

Inadequate Adequate Accomplished Mastery Points

1 pt 2 pts 3 pts 4 pts
Design Solution
Does not attempt or is Fundamentally sound Interesting design solution Compelling design solution
Originate unable to complete design solution with showing consistently showing highly original
successful design design solutions. moderately creative use creative development of creative development of
solutions to Unsuccessful design of concept, fundamentally concept, original concept, innovative
fundamental solution due to lack of appropriate technique, development of technique application of techniques and
architectural creative use of concept, and adequate application and original application of exemplary use of principles.
problems by limited exploration of of principles. Solution principles. Solution shows Solution shows rigorous /40
integrating technique and/or shows some effort to ongoing creative inquiry creative inquiry and
concepts, application of principles. challenge creative and exploration of design investigation throughout
formal/visual Little effort to challenge boundaries with limited or potential with largely design process with highly
principles and creative boundaries uneven success. effective results. successful results.
techniques. resulting in obvious or
poorly developed
solution
1 pt 2 pts 3 pts 4 pts
Formal and
Spatial Principle Does not attempt or is Basic functional Clear understanding of Advanced understanding of
unable to complete understanding of experimental quality of experimental quality of
Demonstrate design solutions. Limited experimental quality of architectural form and architectural form and space
fundamental understanding of architectural form and space resulting in resulting in exemplary
understanding experimental quality of space resulting in successful architectural architectural solutions.
and application of architectural form and fundamentally sound solutions. Minor problems Effective use of scale,
architectural space resulting in architectural solutions. with scale, materiality, materiality, sequence, /20
formal + spatial largely unsuccessful Moderate problems with sequence, circulation, circulation, enclosure and
principles as they architectural solutions. scale, materiality, enclosure and or visual visual perception.
relate to human Significant problems sequence, circulation, perception.
experience. with scale, materiality, enclosure and or visual
sequence, circulation, perception.
enclosure or visual
perception.
1 pt 2 pts 3 pts 4 pts
Design Process
Does not attempt or is Consistent levels of High levels of critical Excellent levels of critical
Demonstrate a unable to complete critical iterative iterative production iterative production resulting
rigorous design critical iterative production resulting in a resulting in a mostly in a highly successful,
process through production. Inconsistent basic design development successful, thorough comprehensive design
critical iterative levels of critical iterative process. Regularly meets design development development process.
production. production resulting in a daily progress, process. Consistently Reliably fulfills and exceeds
flawed and uneven attendance and meets all daily progress, all daily progress, attendance /20
design development participation attendance and and participation
process. Regularly fails requirements. Usually participation requirements. requirements. Unfailingly
to meet daily progress, shows evidence of critical Consistently shows shows evidence of self-
attendance and response through basic evidence of critical disciplined critical response
participation level of continued response through regular through sustained, relevant
requirements. Does not research, sketchbook research, sketchbook research, rigorous
document or respond to documentation and documentation and sketchbook use and
critical input from class iterative design iterative design exemplary iterative design
presentations in design development. development. development.
iterations.
1 pt 2 pts 3 pts 4 pts
Communication
Does not attempt or is Basic competence in Advanced achievement in Exemplary presentation in
Communicate unable to complete presentation materials presentation materials materials and verbal
design solutions design solutions. and techniques resulting resulting in successful presentation resulting in
effectively using Significant problems in an acceptable level of design communication of highly effective design
architectural with presentation design communication of systematic consistency. communication of clarity,
presentation materials and/or general completeness. Presentation materials detail and precision.
materials and techniques resulting in Presentation materials comprehensive, detailed Presentation materials at /20
techniques. unsuccessful level of showing basic elements and well organized with portfolio quality suitable for
design communication. of design organized and minimal minor errors and transfer. No errors or
Major errors, omissions, comprehensible. No requiring no further omissions. Verbal
consistency or quality major errors, omissions, explanation. Verbal communication highly
problems in drawings, consistency or quality communication well effective resulting in
process and models. problems in drawings, planned and executed and advanced discussion of
Poor verbal process or models. effective resulting in design solution.
communication inhibiting Verbal communication further discussion of
discussion beyond understandable resulting design solution.
rudimentary level. in basic discussion of
design solution.
TOTAL /100

14
 planndesign.com

INTRODUCTION TO ELEMENTs OF DEsIGN FOCUsING ON VIsUALs (LINEs,

MOVEMENT, sPACE)

PRIMARY ELEMENTS

"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."

Paul Klee
The lhlnk1119 Eye: The Notebooks of Paul Klee
(English translation)
1961

15
This opening chapter presents the primary elements of form in the order of their growth
from the point to a one-dimensional line. from the line toa two-dimensional plane, and from
the plane to a three-dimensional volume. Each element Is first considered as a conceptual
element, then as a visual element in the vocabulary of architectural design.

As conceptual elements, the point. line, plane, and volume are not visible except to the
mind's eye. While they do not actually exist, we nevertheless feel their presence. We can
sense a polo.at the meeting of two lines, a line marking the contour of a plane. a plane
enclosing a volume. and the volume of an object that occupies space.

When made visible to the eye on paper or in three-dimensional space, these elements
become form with characteristics of substance, shape, size, color, and texture. As we
experience these forms in our environment, we should be able to perceive in their structure
the existence of the primary elements of point, line, plane, and volume.

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17
POINT

18
 POINT ELEMENTS

19
TWO POINTS

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LINE

21
22
LINEAR ELEMENTS

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24
25
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 Assessment Task

Design Plate No. 2

General Instruction: Use one piece A3 size or half-cut (crosswise) cartolina paper for Task 1 and 2.
Task 1 will be written in a well-formatted way and apply lettering as much as possible. Arrange the
task 1, 2, and 3 as to present it aesthetically.

1. WRITTEN DESIGN CONCEPT

Directions:

Compose a title for your concept.

Using raw Spaghetti Pasta sticks as key material, design a new form expressing your learning and
comprehension of lines and its potential uses in design.

Write the Design Concept in essay form (minimum of 200 words). Discuss in the concept the design
process on how you arrived with the final form.

2. DESIGN DRAWING

Directions:

Express your Design Concept and Design flow through freehand drawing.

3. DESIGN MODEL

Directions:

Make a miniature model of your final Design. Materials to be used is limited only with the key material:

- Raw Spaghetti Pasta Sticks

- Illustration board, cardboard, unused folders as base of model
- Joining tools (Glue, masking tape, adhesives)
- Cutting tools

27
 Architectural Design Assessment Rubric
NOTE: This rubric will be rated by your Instructor only!

Inadequate Adequate Accomplished Mastery Points

1 pt 2 pts 3 pts 4 pts
Design Solution
Does not attempt or is Fundamentally sound Interesting design solution Compelling design solution
Originate unable to complete design solution with showing consistently showing highly original
successful design design solutions. moderately creative use creative development of creative development of
solutions to Unsuccessful design of concept, fundamentally concept, original concept, innovative
fundamental solution due to lack of appropriate technique, development of technique application of techniques and
architectural creative use of concept, and adequate application and original application of exemplary use of principles.
problems by limited exploration of of principles. Solution principles. Solution shows Solution shows rigorous /40
integrating technique and/or shows some effort to ongoing creative inquiry creative inquiry and
concepts, application of principles. challenge creative and exploration of design investigation throughout
formal/visual Little effort to challenge boundaries with limited or potential with largely design process with highly
principles and creative boundaries uneven success. effective results. successful results.
techniques. resulting in obvious or
poorly developed
solution
1 pt 2 pts 3 pts 4 pts
Formal and
Spatial Principle Does not attempt or is Basic functional Clear understanding of Advanced understanding of
unable to complete understanding of experimental quality of experimental quality of
Demonstrate design solutions. Limited experimental quality of architectural form and architectural form and space
fundamental understanding of architectural form and space resulting in resulting in exemplary
understanding experimental quality of space resulting in successful architectural architectural solutions.
and application of architectural form and fundamentally sound solutions. Minor problems Effective use of scale,
architectural space resulting in architectural solutions. with scale, materiality, materiality, sequence, /20
formal + spatial largely unsuccessful Moderate problems with sequence, circulation, circulation, enclosure and
principles as they architectural solutions. scale, materiality, enclosure and or visual visual perception.
relate to human Significant problems sequence, circulation, perception.
experience. with scale, materiality, enclosure and or visual
sequence, circulation, perception.
enclosure or visual
perception.
1 pt 2 pts 3 pts 4 pts
Design Process
Does not attempt or is Consistent levels of High levels of critical Excellent levels of critical
Demonstrate a unable to complete critical iterative iterative production iterative production resulting
rigorous design critical iterative production resulting in a resulting in a mostly in a highly successful,
process through production. Inconsistent basic design development successful, thorough comprehensive design
critical iterative levels of critical iterative process. Regularly meets design development development process.
production. production resulting in a daily progress, process. Consistently Reliably fulfills and exceeds
flawed and uneven attendance and meets all daily progress, all daily progress, attendance /20
design development participation attendance and and participation
process. Regularly fails requirements. Usually participation requirements. requirements. Unfailingly
to meet daily progress, shows evidence of critical Consistently shows shows evidence of self-
attendance and response through basic evidence of critical disciplined critical response
participation level of continued response through regular through sustained, relevant
requirements. Does not research, sketchbook research, sketchbook research, rigorous
document or respond to documentation and documentation and sketchbook use and
critical input from class iterative design iterative design exemplary iterative design
presentations in design development. development. development.
iterations.
1 pt 2 pts 3 pts 4 pts
Communication
Does not attempt or is Basic competence in Advanced achievement in Exemplary presentation in
Communicate unable to complete presentation materials presentation materials materials and verbal
design solutions design solutions. and techniques resulting resulting in successful presentation resulting in
effectively using Significant problems in an acceptable level of design communication of highly effective design
architectural with presentation design communication of systematic consistency. communication of clarity,
presentation materials and/or general completeness. Presentation materials detail and precision.
materials and techniques resulting in Presentation materials comprehensive, detailed Presentation materials at /20
techniques. unsuccessful level of showing basic elements and well organized with portfolio quality suitable for
design communication. of design organized and minimal minor errors and transfer. No errors or
Major errors, omissions, comprehensible. No requiring no further omissions. Verbal
consistency or quality major errors, omissions, explanation. Verbal communication highly
problems in drawings, consistency or quality communication well effective resulting in
process and models. problems in drawings, planned and executed and advanced discussion of
Poor verbal process or models. effective resulting in design solution.
communication inhibiting Verbal communication further discussion of
discussion beyond understandable resulting design solution.
rudimentary level. in basic discussion of
design solution.
TOTAL /100

28
 Google.com

INTRODUCTION TO ELEMENTs OF DEsIGN FOCUsING ON FORMs

FROM LINE TO PLANE

29
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PLANE

31
PLANAR ELEMENTS

32
VOLUME

33
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VOLUMETRIC ELEMENTS

35
36
 Assessment Task

Design Plate No. 3

General Instruction: Use one piece A3 size or half-cut (crosswise) cartolina paper for Task 1 and 2.
Task 1 will be written in a well-formatted way and apply lettering as much as possible. Arrange the
task 1, 2, and 3 as to present it aesthetically.

1. WRITTEN DESIGN CONCEPT

Directions:

Compose a title for your concept.

Design a new form expressing your learning and comprehension of Planes and its potential uses in
design. Use thick paper or any flat surface objects as key materials.

Write the Design Concept in essay form (minimum of 200 words). Discuss in the concept the design
process on how you arrived with the final form.

2. DESIGN DRAWING

Directions:

Express your Design Concept and Design flow through freehand drawing.

3. DESIGN MODEL

Directions:

Make a miniature model of your final Design. Materials to be used is limited only with the key material:

- Illustration board, cardboard, versa board or any thick flat surface material
- Joining tools (Glue, masking tape, adhesives)
- Cutting tools

37
 Architectural Design Assessment Rubric
NOTE: This rubric will be rated by your Instructor only!

Inadequate Adequate Accomplished Mastery Points

1 pt 2 pts 3 pts 4 pts
Design Solution
Does not attempt or is Fundamentally sound Interesting design solution Compelling design solution
unable to complete design solution with showing consistently showing highly original
Originate
design solutions. moderately creative use creative development of creative development of
successful design
Unsuccessful design of concept, fundamentally concept, original concept, innovative
solutions to
solution due to lack of appropriate technique, development of technique application of techniques and
fundamental
creative use of concept, and adequate application and original application of exemplary use of principles.
architectural
limited exploration of of principles. Solution principles. Solution shows Solution shows rigorous
problems by /40
technique and/or shows some effort to ongoing creative inquiry creative inquiry and
integrating
application of principles. challenge creative and exploration of design investigation throughout
concepts,
Little effort to challenge boundaries with limited or potential with largely design process with highly
formal/visual
creative boundaries uneven success. effective results. successful results.
principles and
resulting in obvious or
techniques.
poorly developed
solution
1 pt 2 pts 3 pts 4 pts
Formal and
Does not attempt or is Basic functional Clear understanding of Advanced understanding of
Spatial Principle
unable to complete understanding of experimental quality of experimental quality of
design solutions. Limited experimental quality of architectural form and architectural form and space
Demonstrate
understanding of architectural form and space resulting in resulting in exemplary
fundamental
experimental quality of space resulting in successful architectural architectural solutions.
understanding
architectural form and fundamentally sound solutions. Minor problems Effective use of scale,
and application of
space resulting in architectural solutions. with scale, materiality, materiality, sequence,
architectural /20
largely unsuccessful Moderate problems with sequence, circulation, circulation, enclosure and
formal + spatial
architectural solutions. scale, materiality, enclosure and or visual visual perception.
principles as they
Significant problems sequence, circulation, perception.
relate to human
with scale, materiality, enclosure and or visual
experience.
sequence, circulation, perception.
enclosure or visual
perception.
1 pt 2 pts 3 pts 4 pts
Design Process
Does not attempt or is Consistent levels of High levels of critical Excellent levels of critical
unable to complete critical iterative iterative production iterative production resulting
Demonstrate a
critical iterative production resulting in a resulting in a mostly in a highly successful,
rigorous design
production. Inconsistent basic design development successful, thorough comprehensive design
process through
levels of critical iterative process. Regularly meets design development development process.
critical iterative
production resulting in a daily progress, process. Consistently Reliably fulfills and exceeds
production.
flawed and uneven attendance and meets all daily progress, all daily progress, attendance
design development participation attendance and and participation
/20
process. Regularly fails requirements. Usually participation requirements. requirements. Unfailingly
to meet daily progress, shows evidence of critical Consistently shows shows evidence of self-
attendance and response through basic evidence of critical disciplined critical response
participation level of continued response through regular through sustained, relevant
requirements. Does not research, sketchbook research, sketchbook research, rigorous
document or respond to documentation and documentation and sketchbook use and
critical input from class iterative design iterative design exemplary iterative design
presentations in design development. development. development.
iterations.
1 pt 2 pts 3 pts 4 pts
Communication
Does not attempt or is Basic competence in Advanced achievement in Exemplary presentation in
unable to complete presentation materials presentation materials materials and verbal
Communicate
design solutions. and techniques resulting resulting in successful presentation resulting in
design solutions
Significant problems in an acceptable level of design communication of highly effective design
effectively using
with presentation design communication of systematic consistency. communication of clarity,
architectural
materials and/or general completeness. Presentation materials detail and precision.
presentation
techniques resulting in Presentation materials comprehensive, detailed Presentation materials at
materials and /20
unsuccessful level of showing basic elements of and well organized with portfolio quality suitable for
techniques.
design communication. design organized and minimal minor errors and transfer. No errors or
Major errors, omissions, comprehensible. No requiring no further omissions. Verbal
consistency or quality major errors, omissions, explanation. Verbal communication highly
problems in drawings, consistency or quality communication well effective resulting in
process and models. problems in drawings, planned and executed and advanced discussion of design
Poor verbal process or models. Verbal effective resulting in solution.
communication inhibiting communication further discussion of
discussion beyond understandable resulting design solution.
rudimentary level. in basic discussion of
design solution.
TOTAL /100

38
Lesson 2
FORMULATION OF IDEAs, PROBLEM SOLVING ACTIVITIEs
AND PREsENTATION OF SOLUTION

At the end of the lesson, the student should be able to:

1. Make use of regular/everyday materials as elements of design

2. Manipulate forms to achieve correct design outputs
3. Apply color, texture, line, value, shape, and other design theories in making
a designs
4. Defend the design concepts using design statements and design flows

39
 College ENGINEERING AND ARCHITECTURE
Program B.S. in ARCHITECTURE
Course Code ARCHITECTURAL DESIGN 1
Course Title AR 0110
2 Units:
Credit Unit 1 – Lecture (1 hour)
1 – Studio (3 hours)

Lesson 2 WEEK 5-8

Module Topic Formulation of Ideas, Problem Solving Activities and Presentation of Solution
At the end of the lesson, the student should be able to:
Intended 1. Make use of regular/everyday materials as elements of design
Learning 2. Manipulate forms to achieve correct design outputs
Outcomes 3. Discuss design solutions applied in design thru written concepts.
4. Defend the design concepts using design statements and design flows
Number of Hours 16 hours total (4 hours Self-directed Learning & 12 hours Studio with Assessment Tasks)
1. What is a Concept?
Study Questions 2. What are the different approach in design?
3. How concepts influences the final design?
Required Suggested
 Ching, Francis D.K. (2015). Architectural Graphics (6th ed.). John Wiley & Sons Inc.
Lesson 2. Course Module on  Ching, Francis D.K. (2014). Architecture: Form, Space, and Order. John Wiley & Sons
Architectural Design 1 – Formulation Inc.
of Ideas, Problem Solving Activities  Ching, Francis D.K., Juroszek, Steven P. (2010). Design Drawing (2nd ed.). John Wiley &
Learning and Presentation of Solution. College Sons Inc.
Resources of Engineering and Architecture.  First in Architecture. How to Develop Architectural Concepts. Retrieved from
University of the Visayas http://www.firstinarchitecture.co.uk/how-to-develop-architectural-concepts/
 Dietrich, K.. Architectural Design Elements. Retrieved from
http://www.kdietrich.com/thesis/d9a-
research/section%207%20design%20elements/section%207%20design%20elements.pdf
 Craven, Jackie. "Architecture, Geometry, and the Vitruvian Man." ThoughtCo, Aug. 26,
2020, thoughtco.com/geometry-and-architecture-178081.

Learning Activity 1. Student shall study and learn Lesson 2 on Formulation of Ideas, Problem Solving Activities and
Presentation of Solution and its subtopics. Student may refer to the suggested and other
recommended learning materials indicated in this Course Study Guide as additional reading resources.
2. After studying and learning the topics in Lesson 2, the student shall make Assessment Task 1 and 2
found in every interval of topics.
1. Written Design Concepts
Required Output 2. Design Drawings
3. Design Models

1. Design Plate No. 1

Assessment Tasks
2. Design Plate No. 2

Assessment Tool Architectural Design Assessment Rubric

Target
Creativity & Innovation, Critical & Analytical Thinking, Effective Communication
Competency

Prepared by: Reviewed by: Approved for use:

AR. FREELI P. BERAME AR. ADELINE C. LAURON AR. ADELINE C. LAURON

Faculty Program Coordinator Dean

What is a concept?

40
One of the most popular questions I get asked by students is ‘how do you develop architectural
concepts?’.

The design process can be daunting to new students, who often find it difficult to find a direction in
their design. They are constantly asked, ‘what is your concept?’ by their tutors, and respond by
staring blankly back at them.

In this article we will take a close look at architectural concepts and how it fits in with the design
process.

Concept: Definition an abstract idea, a plan or intention, an idea or invention to help sell or
publicise a commodity, idea, notion, theory, conviction, opinion.

Concept Sketch – Frank Gehry

http://williambellamyinfluences.blogspot.com

A concept is an idea, a theory or notion, but in architecture we could also describe a concept as

‘an approach’ to the design.

When we think of an architectural concept, we think of an abstract idea, one that is unchanging

throughout the design process. This is not necessarily the case, a concept can be linked to

many factors, and can evolve as the design grows.

Architectural concepts are the designers way of responding to the design situation presented

41
to them. They are a means of translating the non-physical design problem into the physical

building product. Every project will have critical issues, central themes or problem essences,

and the general issues of designing a building can be approached in a number of ways.

Approaches to the design

There are several areas the designer may focus on at the early stages of design that will begin

to inform the concept and direction. These areas may be drawn upon throughout the project,

weaved into one another, as the project develops. The approaches can be categorised as:

• Functional

• Material

• Contextual

• Conceptual

• Formal

• Collaborative

• Philosophical

The aforementioned themes can be combined and shifted to expand and explore the different

approaches to the development of design and concept.

Functional

Should we approach the design with function at the forefront of our minds? Does the project

have more necessity for the functional elements rather than the aesthetic appearance of the

building? There are certainly some types of buildings that we would make function high up on

our priority list. For example, a factory will have quite particular functional requirements, or if

designing a hospital we would want to ensure that the building can be used effectively above

anything else.

Just because we focus on the functional approach to the design, it does not mean that we

cannot demonstrate creativity and flair. Every project will present opportunities to problem

solve, be innovative, but it may just be that in some cases the function of the building is our key

focus.

42
McLaren Tech Centre – https://www.aol.co.uk/2010/07/07/cleanliness-is-next-to-godliness-autoblog-visits-mclaren/?guccounter=1

Material

We may approach our design looking at the materials of the structure as part of our early

concept. By focusing on a specific material, we will be naturally led towards particular forms of

construction, thus creating a type of appearance organically.

Perhaps we select a material approach based on our site context, which suggests a historical

use of a particular material, which we want to use in a more innovative way. By selecting local

materials, it will give the local visitors a sense of comfort and familiarity, whilst also giving a nod

to the natural surroundings and environmental benefits of sourcing locally.

43
 St Peter House – Proyecto Cafeina & Estudio Tecalli

https://www.archdaily.com/893830/mexican-houses-that-show-the-many-ways-to-use-bricks

Contextual

A contextual approach to our concept will look at the context of the site and surroundings, the

historical features of the area, the people that occupy the area. After all, pretty much all

architecture is for people. With this type of concept, we draw heavily once again from our site

analysis, exploring the data we have collected about the site, both physical and non physical.

Every project should have an element of a contextual approach, as every design should

consider its context, site and surroundings. Some designs may focus more on this than others,

and some may take this as the most important factor in design.

A contextual approach to a design does not always mean it will sit harmoniously in its

surroundings. The architect may choose to turn the buildings back on the context, or perhaps

create a contrast between the old and the new. There are a number of approaches to the

contextual concept.

44
Conceptual

A conceptual approach to a design is looking at the idea of conceptual architecture. This

suggests that every part of the project is about the concept. The sole focus of the design is

about the idea, rather than a combination of approaches and processes. Conceptual

architecture is sometimes never built, but rather designed as a form of thought provocation,

exploration of ideas.

Formal

A formal approach to design looks at drawing on the formal language of architecture to

develop a concept. We look to architecture from the classical period to inform our approach to

developing the formal rules of our design. The classical orders are one of the earliest systems

of architectural language, which give formality to proportion, scale and form.

Collaborative

Most projects can be considered to be collaborative. Whether there is a large design team working
on the different aspects of the building, there is also the client, stakeholders, engineers,
surveyors, contractors and many more people involved in the design. However, the end user of
the building is one of the important parts of the puzzle that often is not directly involved in the
design process.

Some architects are starting to take the approach that the end user is the expert in the
requirements of the building, and engaging in a collaborative exercise that sees the end user
contributing to the design process. This is particularly popular with projects that have a large

45
community or social focus, where the skills and knowledge of the building users can be included in
the development of the project.

This approach is rarely possible in a student project, but worth considering as an approach to
design.

Philosophical

Another approach to architectural concepts is to consider your design philosophy. This is a set of
values you use to inform your design. The values could be the life values of the designer, or could
be a reflection of the design brief or context of the site, or indeed a combination of all three.

You could investigate some of the following statements:

 artistic vs. scientific

 rational vs. irrational
 personal vs. universal
 visual vs. non visual
 needs vs. wants
 individual vs. society

46
Then you can go on to look at your values in terms of design. How do these values work with the
design problems you face on this particular project?

 ordered vs. random

 structured vs. unstructured
 objective vs. subjective
 one answer vs. multiple solutions
 creative vs. conservative
 specific vs. general
 man vs. nature
 complexity vs. simplicity
 design for now vs. design for the future
 patterned process vs. random process

Exercises and Ideas

Your architectural concepts should evolve alongside your in depth site analysis, and design brief
generation. Development of your architectural concept should not be the very first thing you look
at with your design. Refer to your research and site information regularly and continue to draw out
the problems that you need to resolve to make a successful design. What are the parameters that
are being measured in order for the design to be considered successful?

The following ideas might help you develop your design concept.

Break it down

Explore the information you have collected and break it down into areas that have meaning to
you. Consider the problems, the influences, the context.

What are the limitations? What are the opportunities? Consider the different approaches above
and look at which ones would have relevance and meaning to your project.

Understand the problem

Make a diagram of the problems, or requirements of the building. By understanding the needs you
may be led to an approach to focus on.

Sketch

47
Another useful way to develop your ideas, sketch out your concepts. Whether it is tiny elements of
design detail, or general form of your building. Keep referring back to your sketches, as they may
inspire a development of design.

Study your precedents

Carrying out in depth research relating to your design problems will inspire you and help you
discover solutions. You can study how issues have been solved in other designs, and how they
might direct you with your own. It is not copying, but using previous design innovation to inform
your design solutions.

Design Solution

Your concepts and solutions will begin to build as you explore the different factors required in your
design and the values and ideas you can come up with. Hopefully these tips and pointers will help
you to develop your concepts in design, and give you more confidence in presenting your designs.

48
 Assessment Task

Design Plate No. 4

General Instruction: Use one piece A3 size or half-cut (crosswise) cartolina paper for Task 1 and 2.
Task 1 will be written in a well-formatted way and apply lettering as much as possible. Arrange the
task 1, 2, and 3 as to present it aesthetically.

1. WRITTEN DESIGN CONCEPT

Directions:

Title: Vertical Planar.

Design Problem: Explore the use of plane surfaces and design a vertical form using planar materials.
The form must be developed in vertical orientation. Use thick paper or any flat surface objects as
key materials.

Write the Design Concept in essay form (minimum of 200 words). Discuss in the concept the design
process on how you arrived with the final form.

Sample image:

2. DESIGN DRAWING

Directions:

Express your Design Concept and Design flow through freehand drawing.

3. DESIGN MODEL

Directions:

Make a miniature model of your final Design. Materials to be used is limited only with the key material:

- Illustration board, cardboard, versa board or any thick flat surface material
- Joining tools (Glue, masking tape, adhesives)
- Cutting tools

49
Design Plate No. 5
General Instruction: Use one piece A3 size or half-cut (crosswise) cartolina paper for Task 1 and 2.
Task 1 will be written in a well-formatted way and apply lettering as much as possible. Arrange the
task 1, 2, and 3 as to present it aesthetically.

1. WRITTEN DESIGN CONCEPT

Directions:

Title: Horizontal Planar.

Design Problem: Explore the use of plane surfaces and design a horizontal form using planar
materials. The form must be developed in horizontal orientation. Use thick paper or any flat surface
objects as key materials.

Write the Design Concept in essay form (minimum of 200 words). Discuss in the concept the design
process on how you arrived with the final form.

Sample image:

2. DESIGN DRAWING

Directions:

Express your Design Concept and Design flow through freehand drawing.

3. DESIGN MODEL

Directions:

Make a miniature model of your final Design. Materials to be used is limited only with the key material:

- Illustration board, cardboard, versa board or any thick flat surface material
- Joining tools (Glue, masking tape, adhesives)
- Cutting tools

50
 Architectural Design Assessment Rubric
NOTE: This rubric will be rated by your Instructor only!

Inadequate Adequate Accomplished Mastery Points

1 pt 2 pts 3 pts 4 pts
Design Solution
Does not attempt or is Fundamentally sound Interesting design solution Compelling design solution
unable to complete design solution with showing consistently showing highly original
Originate
design solutions. moderately creative use creative development of creative development of
successful design
Unsuccessful design of concept, fundamentally concept, original concept, innovative
solutions to
solution due to lack of appropriate technique, development of technique application of techniques and
fundamental
creative use of concept, and adequate application and original application of exemplary use of principles.
architectural
limited exploration of of principles. Solution principles. Solution shows Solution shows rigorous
problems by /40
technique and/or shows some effort to ongoing creative inquiry creative inquiry and
integrating
application of principles. challenge creative and exploration of design investigation throughout
concepts,
Little effort to challenge boundaries with limited or potential with largely design process with highly
formal/visual
creative boundaries uneven success. effective results. successful results.
principles and
resulting in obvious or
techniques.
poorly developed
solution
1 pt 2 pts 3 pts 4 pts
Formal and
Does not attempt or is Basic functional Clear understanding of Advanced understanding of
Spatial Principle
unable to complete understanding of experimental quality of experimental quality of
design solutions. Limited experimental quality of architectural form and architectural form and space
Demonstrate
understanding of architectural form and space resulting in resulting in exemplary
fundamental
experimental quality of space resulting in successful architectural architectural solutions.
understanding
architectural form and fundamentally sound solutions. Minor problems Effective use of scale,
and application of
space resulting in architectural solutions. with scale, materiality, materiality, sequence,
architectural /20
largely unsuccessful Moderate problems with sequence, circulation, circulation, enclosure and
formal + spatial
architectural solutions. scale, materiality, enclosure and or visual visual perception.
principles as they
Significant problems sequence, circulation, perception.
relate to human
with scale, materiality, enclosure and or visual
experience.
sequence, circulation, perception.
enclosure or visual
perception.
1 pt 2 pts 3 pts 4 pts
Design Process
Does not attempt or is Consistent levels of High levels of critical Excellent levels of critical
unable to complete critical iterative iterative production iterative production resulting
Demonstrate a
critical iterative production resulting in a resulting in a mostly in a highly successful,
rigorous design
production. Inconsistent basic design development successful, thorough comprehensive design
process through
levels of critical iterative process. Regularly meets design development development process.
critical iterative
production resulting in a daily progress, process. Consistently Reliably fulfills and exceeds
production.
flawed and uneven attendance and meets all daily progress, all daily progress, attendance
design development participation attendance and and participation
/20
process. Regularly fails requirements. Usually participation requirements. requirements. Unfailingly
to meet daily progress, shows evidence of critical Consistently shows shows evidence of self-
attendance and response through basic evidence of critical disciplined critical response
participation level of continued response through regular through sustained, relevant
requirements. Does not research, sketchbook research, sketchbook research, rigorous
document or respond to documentation and documentation and sketchbook use and
critical input from class iterative design iterative design exemplary iterative design
presentations in design development. development. development.
iterations.
1 pt 2 pts 3 pts 4 pts
Communication
Does not attempt or is Basic competence in Advanced achievement in Exemplary presentation in
unable to complete presentation materials presentation materials materials and verbal
Communicate
design solutions. and techniques resulting resulting in successful presentation resulting in
design solutions
Significant problems in an acceptable level of design communication of highly effective design
effectively using
with presentation design communication of systematic consistency. communication of clarity,
architectural
materials and/or general completeness. Presentation materials detail and precision.
presentation
techniques resulting in Presentation materials comprehensive, detailed Presentation materials at
materials and /20
unsuccessful level of showing basic elements of and well organized with portfolio quality suitable for
techniques.
design communication. design organized and minimal minor errors and transfer. No errors or
Major errors, omissions, comprehensible. No requiring no further omissions. Verbal
consistency or quality major errors, omissions, explanation. Verbal communication highly
problems in drawings, consistency or quality communication well effective resulting in
process and models. problems in drawings, planned and executed and advanced discussion of design
Poor verbal process or models. Verbal effective resulting in solution.
communication inhibiting communication further discussion of
discussion beyond understandable resulting design solution.
rudimentary level. in basic discussion of
design solution.
TOTAL /100

51
Lesson 3
ELEMENTs OF ARCHITECTURE

At the end of the lesson, the student should be able to:

1. Create a design element using knowledge of previous lessons/topics

2. Write design concepts using knowledge of design elements
3. Defend the design concepts using design statements and scale models

52
 College ENGINEERING AND ARCHITECTURE
Program B.S. in ARCHITECTURE
Course Code ARCHITECTURAL DESIGN 1
Course Title AR 0110
2 Units:
Credit Unit 1 – Lecture (1 hour)
1 – Studio (3 hours)

Lesson 3 WEEK 9-12

Module Topic Elements of Architecture

At the end of the lesson, the student should be able to:
Intended
1. Create a design element using knowledge of previous lessons/topics
Learning
2. Defend the design concepts using design statements and design flows.
Outcomes 3. Defend the design concepts using design statements and design flows
Number of Hours 16 hours total (4 hours Self-directed Learning & 12 hours Studio with Assessment Tasks)
1. What are architectural design elements?
2. What is the purpose of elements in design?
Study Questions
3. How to apply design elements in designing architectural projects?
4. How to present your design?
Required Suggested
 Ching, Francis D.K. (2015). Architectural Graphics (6th ed.). John Wiley & Sons Inc.
Lesson 3. Course Module on  Ching, Francis D.K. (2014). Architecture: Form, Space, and Order. John Wiley & Sons
Architectural Design 1 – Elements of Inc.
Architecture. College of Engineering  Ching, Francis D.K., Juroszek, Steven P. (2010). Design Drawing (2nd ed.). John Wiley &
Learning and Architecture. University of the Sons Inc.
Resources Visayas  First in Architecture. How to Develop Architectural Concepts. Retrieved from
http://www.firstinarchitecture.co.uk/how-to-develop-architectural-concepts/
 Dietrich, K.. Architectural Design Elements. Retrieved from
http://www.kdietrich.com/thesis/d9a-
research/section%207%20design%20elements/section%207%20design%20elements.pdf
 Craven, Jackie. "Architecture, Geometry, and the Vitruvian Man." ThoughtCo, Aug. 26,
2020, thoughtco.com/geometry-and-architecture-178081.

Learning Activity 1. Student shall study and learn Lesson 3 on Elements of Architecture and its subtopics. Student may
refer to the suggested and other recommended learning materials indicated in this Course Study
Guide as additional reading resources.
2. After studying and learning the topics in Lesson 3, the student shall make Assessment Task 1 and 2
found in every interval of topics.

1. Written Design Concepts

Required Output 2. Design Drawings
3. Design Models

1. Design Plate No. 6

Assessment Tasks
2. Design Plate No. 7

Assessment Tool Architectural Design Assessment Rubric

Target
Creativity & Innovation, Critical & Analytical Thinking, Effective Communication
Competency

Prepared by: Reviewed by: Approved for use:

AR. FREELI P. BERAME AR. ADELINE C. LAURON AR. ADELINE C. LAURON

Faculty Program Coordinator Dean

53
DESIGN ELEMENTS

Design is a systematic process of organization and interpretation. The desire for order within our
environment is a basic human characteristic. This process towards order can be traced in almost
every cultural history wherein legend and myth detail the creation of our world, gods and civilization
from the origins of chaos.

The assembly of order continues to dominate environmental design through the design of
civilizations, civic planning, environmental controls and land management. Order can be found
within smaller designations such as the grouping of like-minded persons into guilds, civic
organization and clubs.

Architectural design is a component of the desire for order in the manner by which we choose
to control our living environment; providing space for desired activities and establishing a place
within the world itself.

Architectural design is the method of organizing materials and forms in a specific way to satisfy
a defined purpose. Two key aspects of human involvement are contained in the design process. The
first aspect relates to the architect, the second aspect relates to the user or participant of the
solution.

The architect contributes to the process of creation through interpretation of the problem,
inspiration in the design solution and originality stemming from personal style which defines the
work as individual and unique. The user or participant contributes to the process by provision of a
clearly defined set of needs as well as through the use of the completed structure, recognizing the
aspects of architectural design that contribute to the success of the solution.

The Process of Design

Architectural design as a conscious act begins with a level of organization. The specific steps in
the order of this organization vary on a personal level with each individual, however a general
outline for the process involves:

• Definition of the project

54
• Analysis of the possibilities

55
• Definition of the specific problem

• Examination of the alternatives

• Selection of characteristics

• Production of the solution

• Clarifications/revisions to provide a final result.

The tools and devices used in the process of architectural design can be defined as either design
elements or design principles. Design elements are those which can be defined as specific "parts" of
a design solution. Design principles are those items which influence, direct or resolve the overall
composition of the design elements.

Architectural design elements include:

• Materials

• Colour

• Line

• Shape

• Mass

• Space

• Texture

Materials
The use of materials in architectural design has evolved along with the technology used to produce
them. Architectural forms have also evolved, making the most out of the new materials and
compositions; in some cases, even testing their limits.

56
Early materials consisted of available rock, hides and minor wood elements. Design at the time
made use of these elements in a fashion suitable to the nomadic lifestyle.

Civilizations evolved, allowing for the increased mining of stone, production of brick and the use of
cement paste and plaster. Architectural design evolved to make the best use of these available
materials, creating new methods (arches and vaults) through which to expand the design
opportunities.

Glass, steel and concrete were developed and with them a new aesthetic. The modern building was
envisioned with a new paradigm for the lifestyles of mankind.

The latest developments include metal production and the use of plastics in the materials sector.
Once again, architectural design moved forward by pushing the limits through which these
materials, new and old, can be assembled, shaped and formed to provide a new awareness relative
to our place in the world.

Line
The use of a line represents the most basic of architectural design elements. Lines define the shape,
form and volume of a design solution. They also create a sense of the rhythm and flow within a
solution.

57
Kaufmann Residence, Bear Run, Penn.

The aspects of line can be used to draw attention away from or towards specific elements. Lines can
be created by use of contrasting design elements (differing colours or textures) or through the
definition of balance within a design.

Horizontal lines of building elements create a sense of crouching, low to the earth and grounded.
Vertical lines provide an enhanced sense of height, soaring upwards, in much the same manner as
balance contributes to the overall solution.

Line shapes are related to our perception of the natural and created environment. Lines that curve
and appear to flow are perceived to be more in keeping with natural elements, establishing a
connection between ourselves (the viewer) and that natural world. Lines that reflect straight
geometric movements are perceived to be hard and rigid, the result of design imposing or
dominating the natural environment.

The use of lines on a design surface can lessen the massing effect, breaking the bulk down into
smaller perceived pieces. Lines can also contrast with a specific form to provide emphasis or
symbolism related to the design intent.

The use of lines within the design process remains an available tool for the architect to control and
alter the basic solution in order to provide a clear definition of the solution.

Villa Savoye Staircase (Le Corbusier)

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Colour
Colour is an aspect of architectural design which provides a wide array of potential affects. Colour
may be used strategically to provide emphasis to the character of a building or component, it may
be used to accentuate form and materials or it may be used to separate and define distinct
divisions of an overall scheme. Colour may also be used to convey the intended spirit of a design.

Colour is not, however, the solution to bad design. A paint job is merely the application of product,
not a remedy to aesthetic failure. The use of colour is one of the most appealing design elements, to
enhance the product, not resolve it.

The Colour Wheel

Colour as an entity contains three related characteristics:

• Hue – relates to the pure state of colour, its essence.

• Value – relates to the depth of hue contained; either defined as light or dark. This definition refers
to the colour value in the mix, not to the lighting applied to a surface.

• Intensity – relates to the saturation of colour: chroma. This characteristic defines the purity of the
final colour relative to its original state.

The majority of natural building materials possess their own distinct colours. The colours are
primarily muted tones and hues, none presenting colour in a pure state due to their composition.
Materials fabricated for use in construction (drywall, ceiling tiles, flooring, etc) are devoid of natural
colour thereby requiring the addition of pigmentation either during fabrication or postinstallation.

The use of colour must be appropriate to the intended function and aesthetic of the design. Colour
must be used in a specific balance of elements, unless deviation from a balance is desired. The other
aspect to consider is the influence of fashion on colour choices and their application.

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Los Angeles Residence (Morphosis Architects)

Colour bears specific psychological aspects to the presence of design. The definitive effects have
been and continue to be studied relative to human response. A summary of the colour definition
divides colour into two categories: warm and cool. Each category provides an emotional response to
the colour. The psychological aspects summarized here represent an overview of the majority, not
necessarily the definitive response by every individual. These colour definitions are also specific to
our cultural responses, not globally accepted.

Warm colours are those that stimulate and uplift the senses. This colour range is regarded as the
"advancing" series made up of the red to yellow chroma (red, orange and yellow as primary
colours). These colours are related to our psychological response to colours produced by light (the
sun), heat and fire.

The relationship of warm colours to heat/light define the colour range as having a cosmic influence,
linked to overriding principles of life. Items finished in this colour range may tend to have more
visual weight, thus appearing as dominant when compared to cool colours.

Art Nouveau Colors, Paris, France

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Cool colours are those that sooth and calm the senses. This colour range is regarded as the
"recessive" series made up of the blue chroma (green to indigo). These colours relate our senses to
the natural environment; forest, green spaces, sky. The relationship of colour to the natural
environment provides a sense of being grounded, of the earth, solidly planted which results in a
calming affect.

The use of colour in architecture ties into the other design elements and principles. The key design
element related to colour is that of texture. Separate items may possess the same colour but
alternate or contrasting textures (smooth versus rough) will catch and project lighting differently.

Shape
Shape as a design element relative to architectural principles refers to the two dimensional
representation of form. Shape is the outline, silhouette or basic form of structure that which is the
simplest to perceive in built form.

Shape evokes a responsive emotion in the viewer, providing the "first" affect of the building
solution. The forms and types of shape will provide varied responses, utilized by the architect to
create an emotion in accordance with the intended design solution.

Vanna Venturi House (Robert Venturi Architect)

Shape is categorized by four distinct types: geometric, natural, abstract and non-objective.

1. Geometric shape:
This type consists of the basic shapes – square, triangle and circle. These basic shapes dominate
our built environment as almost every building form can be derived from them. These shapes
are common to our culture, simplistic and understood by the mass population as they are easily
interpreted. They are considered to be "perfect" shapes and therefore evoke a sense of stability
and order.

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Shell Configurations in Design

2. Natural shape: This type consists of design shapes that replicate or imitate items found within
our natural environment. This reproduction/imitation of the natural form is completed without
artistic interpretation or aberration of the shape – it is direct. Natural shapes used may be found
either in human form, animal and plant shapes as well as geographic and landscape forms. This
type of shape is found within architectural design most effectively amongst the Art Nouveau
movement of the early 20th century.

3. Abstract shape: this type utilizes the natural shape interpretation of form and then alters or
abstracts it in order to reduce the shape to its apparent essence. The derivation of essence is
subject to interpretation by the architect. There must be however the recognizable element
of natural shape remaining in order for the shape to be properly perceived. In this method,
the shape is transformed, though it will remain recognizable. Artistically, the paintings by
Pablo Picasso represent the best example of this technique.

The Maids of Honor (Valasquez) The Maids of Honor (Picasso)

4. Non-objective shape: this type breaks from the previous three types to create a shape
unrelated to the natural or geometric world. This type represents the extreme design form
of
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 shape. Its specific use in architectural design is to provide a distinct statement, emphasis or
placement of the solution within its environment.

The use and interplay of the various shape types is an important aspect of architectural design. The
principles of architectural design can be applied to various forms of shape for greater effect and
resulting statement relative to the design solution.

The concept of shape as a two-dimensional object leads our analysis directly into the next level of
three dimensions – the element of Mass.

Mass
The mass of an architectural design solution is the three dimensional aspect of the shapes. This
element represents the geometric look, or block of the shape. Every architectural design is
composed of a block, outline or sculptural form of some type. This basic form is categorized as
Mass. The massing of a building has a major impact on the overall appearance and subsequent
response to a design solution.

Massing Illustration

An architectural design that is properly resolved will present a balance of masses; parts to the
whole and whole to its context through the use of the architectural design principles. Massing in
design may provide evidence of primary mass and secondary mass as well as voids within the
massing itself.

Primary mass is the principal form of a structure, the overriding influence that dictates its basic
form. This mass is considered the bulk of the building. When something is described as "massive",
an immediate response is generated, perceiving that item as something large, immovable, heavy or
bulky. Each primary mass may consist of smaller components known as Secondary Masses.

Secondary masses consist of smaller, proportional pieces of the design that serve to reinforce or
contrast with the primary mass. Secondary masses are also found within a primary mass through the
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delineation of structure, systems assemblies (floor, walls, ceilings) and even individual components.
Secondary masses of this type are subservient to the primary mass, creating a compilation of part
to make up the whole.

Habitat Residences, Montreal (Moshe Safdie Architect)

Massing is an element based on the presence of surface to create its form. Voids are the spaces
within the massing form where there is an exclusion of surface. Voids related to mass may be the
actual openings or breaks in the surface (doors, windows, balconies) as well as the actual interior
spaces. Users of a facility are actually occupying the major void within a mass. The extent and
precedence of the voids will influence the overall appearance and presence of the mass. Excessive
voids will break the massing down; minimal voids will enhance the presence of the mass.

Examples of distinct massing design can be seen in the Brutalist architectural style of the 20th
century. Building forms are constructed as solid blocks, defining specific wings of a facility as
individual elements. Primary massing is also seen in the example of the Pyramids – one shape, one
mass.

Pyramid of Cheops, Egypt

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The massing of a design is influenced by its function. A circus structure may well be considered as
non-objective massing though it is comprised of definable design elements. Massing depends on
the proper use of architectural design principles in order to provide a clear statement.

Texture
Texture is a design element that relates to the surface appearance of an item. Texture is
perceived architecturally in two ways: visual and tactile. Texture in materials relates to the
manner by which we perceive the feeling of an item's surface: smooth, rough, soft, etc.

Palazzo Medici, Florence, Ital

Texture is an important element of architectural design as it will define the initial aesthetic of the
building. Variations on the degree of texture will create individual effects. The transition from
smooth to rough textures provides a response ranging from cool to warm, inviting to restricting.

Smooth texture creates a cool, clean pristine appearance. The presence of mankind is evident in the
finishing of the smooth appearance. Rough textures create a warm natural appearance; catching
light to create greater depth of field and presenting an increased visual weight over smooth
textures. Textures that present a rough appearance evoke a sense of our natural environment,
establishing a sense of relationship with the world around us.

The use of texture in design must be carefully considered in combination with the use of colour.
Excessively rough textures may provide a crude, unfinished appearance. Excessively smooth textures
may appear to be overly finished and present a "cold" appearance.

Wall Texture, Palazzo Medici

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The architect must carefully choose the intended materials and desired textures to ensure that they
will provide the necessary language for the intended solution. Materials that provide poor textural
effects can be incorporated through the use of relief techniques while materials of high quality
texture can present the intended smooth, polished surface. A combination of textures is commonly
used in design to provide the designed look and feel to a particular solution.

The element of texture also relates to the hardness and heat retention capabilities of materials.
Smooth surfaces, presented as a cool look, are perceived to be cold retention surfaces, unpleasant
to withstand. Rough surfaces, taken to the extreme may retain heat, thus creating an opposite yet
equally unpleasant experience. Smooth textures will be perceived as hard while rough texture may
present a soft appearance (even though they may be harder than the smooth textures.)

66
 Assessment Task

Design Plate No. 6

General Instruction: Use one piece A3 size or half-cut (crosswise) cartolina paper for Task 1 and 2.
Task 1 will be written in a well-formatted way and apply lettering as much as possible. Arrange the
task 1 and 2 as to present it aesthetically.

1. WRITTEN DESIGN CONCEPT

Directions:

Title: My Design Element (VERTICAL).

Design Problem: Make a design element expressing your learning and comprehension of the topic on
design elements of Architecture. The design must be developed in vertical orientation.

Write the Design Concept in essay form (minimum of 200 words). Discuss in the concept the design
process on how you arrived with the final form.

2. DESIGN DRAWING

Directions:

Express your Design Concept and Design flow through freehand drawing.

3. DESIGN MODEL

Directions:

Make a miniature model of your final Design. Materials to be used is limited only with the key material:

- Illustration board, cardboard, versa board or any thick flat surface material, reusable materials
- Joining tools (Glue, masking tape, adhesives)
- Cutting tools

67
Design Plate No. 7
General Instruction: Use one piece A3 size or half-cut (crosswise) cartolina paper for Task 1 and 2.
Task 1 will be written in a well-formatted way and apply lettering as much as possible. Arrange the
task 1, 2, and 3 as to present it aesthetically.

1. WRITTEN DESIGN CONCEPT

Directions:

Title: My Design Element (HORIZONTAL).

Design Problem: Make a design element expressing your learning and comprehension of the topic on
design elements of Architecture. The design must be developed in horizontal orientation.

Write the Design Concept in essay form (minimum of 200 words). Discuss in the concept the design
process on how you arrived with the final form.

2. DESIGN DRAWING

Directions:

Express your Design Concept and Design flow through freehand drawing.

3. DESIGN MODEL

Directions:

Make a miniature model of your final Design. Materials to be used is limited only with the key material:

- Illustration board, cardboard, versa board or any thick flat surface material
- Joining tools (Glue, masking tape, adhesives)
- Cutting tools

68
 Architectural Design Assessment Rubric
NOTE: This rubric will be rated by your Instructor only!

Inadequate Adequate Accomplished Mastery Points

1 pt 2 pts 3 pts 4 pts
Design Solution
Does not attempt or is Fundamentally sound Interesting design solution Compelling design solution
unable to complete design solution with showing consistently showing highly original
Originate
design solutions. moderately creative use creative development of creative development of
successful design
Unsuccessful design of concept, fundamentally concept, original concept, innovative
solutions to
solution due to lack of appropriate technique, development of technique application of techniques and
fundamental
creative use of concept, and adequate application and original application of exemplary use of principles.
architectural
limited exploration of of principles. Solution principles. Solution shows Solution shows rigorous
problems by /40
technique and/or shows some effort to ongoing creative inquiry creative inquiry and
integrating
application of principles. challenge creative and exploration of design investigation throughout
concepts,
Little effort to challenge boundaries with limited or potential with largely design process with highly
formal/visual
creative boundaries uneven success. effective results. successful results.
principles and
resulting in obvious or
techniques.
poorly developed
solution
1 pt 2 pts 3 pts 4 pts
Formal and
Does not attempt or is Basic functional Clear understanding of Advanced understanding of
Spatial Principle
unable to complete understanding of experimental quality of experimental quality of
design solutions. Limited experimental quality of architectural form and architectural form and space
Demonstrate
understanding of architectural form and space resulting in resulting in exemplary
fundamental
experimental quality of space resulting in successful architectural architectural solutions.
understanding
architectural form and fundamentally sound solutions. Minor problems Effective use of scale,
and application of
space resulting in architectural solutions. with scale, materiality, materiality, sequence,
architectural /20
largely unsuccessful Moderate problems with sequence, circulation, circulation, enclosure and
formal + spatial
architectural solutions. scale, materiality, enclosure and or visual visual perception.
principles as they
Significant problems sequence, circulation, perception.
relate to human
with scale, materiality, enclosure and or visual
experience.
sequence, circulation, perception.
enclosure or visual
perception.
1 pt 2 pts 3 pts 4 pts
Design Process
Does not attempt or is Consistent levels of High levels of critical Excellent levels of critical
unable to complete critical iterative iterative production iterative production resulting
Demonstrate a
critical iterative production resulting in a resulting in a mostly in a highly successful,
rigorous design
production. Inconsistent basic design development successful, thorough comprehensive design
process through
levels of critical iterative process. Regularly meets design development development process.
critical iterative
production resulting in a daily progress, process. Consistently Reliably fulfills and exceeds
production.
flawed and uneven attendance and meets all daily progress, all daily progress, attendance
design development participation attendance and and participation
/20
process. Regularly fails requirements. Usually participation requirements. requirements. Unfailingly
to meet daily progress, shows evidence of critical Consistently shows shows evidence of self-
attendance and response through basic evidence of critical disciplined critical response
participation level of continued response through regular through sustained, relevant
requirements. Does not research, sketchbook research, sketchbook research, rigorous
document or respond to documentation and documentation and sketchbook use and
critical input from class iterative design iterative design exemplary iterative design
presentations in design development. development. development.
iterations.
1 pt 2 pts 3 pts 4 pts
Communication
Does not attempt or is Basic competence in Advanced achievement in Exemplary presentation in
unable to complete presentation materials presentation materials materials and verbal
Communicate
design solutions. and techniques resulting resulting in successful presentation resulting in
design solutions
Significant problems in an acceptable level of design communication of highly effective design
effectively using
with presentation design communication of systematic consistency. communication of clarity,
architectural
materials and/or general completeness. Presentation materials detail and precision.
presentation
techniques resulting in Presentation materials comprehensive, detailed Presentation materials at
materials and /20
unsuccessful level of showing basic elements of and well organized with portfolio quality suitable for
techniques.
design communication. design organized and minimal minor errors and transfer. No errors or
Major errors, omissions, comprehensible. No requiring no further omissions. Verbal
consistency or quality major errors, omissions, explanation. Verbal communication highly
problems in drawings, consistency or quality communication well effective resulting in
process and models. problems in drawings, planned and executed and advanced discussion of design
Poor verbal process or models. Verbal effective resulting in solution.
communication inhibiting communication further discussion of
discussion beyond understandable resulting design solution.
rudimentary level. in basic discussion of
design solution.
TOTAL /100

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Lesson 4
GEOMETRY AND SHAPEs; SCALE, SIZE, AND PROPORTION
Google Image

At the end of the lesson, the student should be able to:

1. Create a design concept applying geometrical shapes

2. Apply scale, size and proportion in every design
3. Apply geometrical shapes in design.
4. Discuss the design concepts using design statements and design flows.

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 College ENGINEERING AND ARCHITECTURE
Program B.S. in ARCHITECTURE
Course Code ARCHITECTURAL DESIGN 1
Course Title AR 0110
2 Units:
Credit Unit 1 – Lecture (1 hour)
1 – Studio (3 hours)

Lesson 4 WEEK 13-16

Module Topic Geometry and Shapes; Scale, Size, and Proportion

At the end of the lesson, the student should be able to:
Intended 1. Create a design concept applying geometrical shapes
Learning 2. Apply scale, size and proportion in every design
Outcomes 3. Apply geometrical shapes in design.
4. Discuss the design concepts using design statements and design flows.
Number of Hours 16 hours total (4 hours Self-directed Learning & 12 hours Studio with Assessment Tasks)
1. What are geometrical shapes?
2. What is scale, size and proportion?
Study Questions
3. What is visual weight in Architecture?

Required Suggested
 Ching, Francis D.K. (2015). Architectural Graphics (6th ed.). John Wiley & Sons Inc.
Lesson 4. Course Module on  Ching, Francis D.K. (2014). Architecture: Form, Space, and Order. John Wiley & Sons
Architectural Design 1 – Geometry Inc.
and Shapes; Scale, Size, Proportion  Ching, Francis D.K., Juroszek, Steven P. (2010). Design Drawing (2nd ed.). John Wiley &
Learning and Optical Weight. College of Sons Inc.
Resources Engineering and Architecture.  First in Architecture. How to Develop Architectural Concepts. Retrieved from
University of the Visayas http://www.firstinarchitecture.co.uk/how-to-develop-architectural-concepts/
 Dietrich, K.. Architectural Design Elements. Retrieved from
http://www.kdietrich.com/thesis/d9a-
research/section%207%20design%20elements/section%207%20design%20elements.pdf
 Craven, Jackie. "Architecture, Geometry, and the Vitruvian Man." ThoughtCo, Aug. 26,
2020, thoughtco.com/geometry-and-architecture-178081.

Learning Activity 1. Student shall study and learn Lesson 4 on Geometry and Shapes; Scale, Size, Proportion and Optical
Weight and its subtopics. Student may refer to the suggested and other recommended learning
materials indicated in this Course Study Guide as additional reading resources.
2. After studying and learning the topics in Lesson 4, the student shall make Assessment Task 1 and 2
found in every interval of topics.

1. Written Design Concepts

Required Output 2. Design Drawings
3. Design Models

1. Design Plate No. 8

Assessment Tasks
2. Design Plate No. 9

Assessment Tool Architectural Design Assessment Rubric

Target
Creativity & Innovation, Critical & Analytical Thinking, Effective Communication
Competency

Prepared by: Reviewed by: Approved for use:

AR. FREELI P. BERAME AR. ADELINE C. LAURON AR. ADELINE C. LAURON

Faculty Program Coordinator Dean

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Architecture, Geometry, and the Vitruvian Man

Left image (crop) by Rob Atkins / Photographer's Choice / Getty Images; Right image by Philip and Elizabeth De Bay / Corbis Historical / Getty Images

Architecture could be said to begin with geometry. Since earliest times, builders relied on imitating
natural forms—like the circular Stonehenge in Britain—and then applied mathematical principles to
standardize and replicate the forms.

The Beginnings

The Greek mathematician Euclid of Alexandria is considered the first to write down all the rules
related to geometry in 300 BCE. Later, in about 20 BCE, the ancient Roman architect Marcus
Vitruvius penned more rules in his De Architectura, or Ten Books on Architecture. Vitruvius is
responsible for all the geometry in today's built environment—at least he was the first to write
down the proportions for how structures should be constructed.

Renaissance Popularity

It wasn't until centuries later, during the Renaissance, that interest in Vitruvius became popular.
Cesare Cesariano (1475-1543) is considered the first architect to translate Vitruvius' work from
Latin into Italian in about 1520 CE. Decades earlier, however, the Italian Renaissance artist and
architect Leonardo da Vinci (1452-1519) sketched out the "Vitruvian Man" in his notebook, making
da Vinci's the iconic image imprinted onto our consciousness.

The images of the Vitruvian Man are inspired by the works and writings of Vitruvius. The "man"
portrayed represents the human being. The circles, squares, and ellipses that surround the figures

72
are Vitruvian calculations of man's physical geometry. Vitruvius was the first to write his
observations about the human body—that the symmetry of two eyes, two arms, two legs, and two
breasts must be an inspiration of the gods.

Models of Proportion and Symmetry

Vitruvius believed that builders should always use precise ratios when constructing temples. "For
without symmetry and proportion no temple can have a regular plan," Vitruvius wrote.

The symmetry and proportion in design that Vitruvius recommended in De Architectura were
modeled after the human body. Vitruvius observed that all human beings are shaped according to
a ratio that is astonishingly precise and uniform. For example, Vitruvius found that the human face
equals one-tenth of the total body height. The foot equals one-sixth of the total body height. And
so on.

Scientists and philosophers later discovered that the same ratio Vitruvius saw in the human body
—1 to phi (Φ) or 1.618—exists in every part of nature, from swimming fish to swirling planets.
Sometimes called a "golden ratio" or "divine ratio," the Vitruvian "divine proportion" has been
called the building block of all life and the hidden code in architecture.

Geometry in Our Environment

"Sacred geometry," or "spiritual geometry," is the belief that numbers and patterns such as the
divine ratio have sacred significance. Many mystical and spiritual practices begin with a
fundamental belief in sacred geometry. Architects and designers may draw upon concepts of
sacred geometry when they choose particular geometric forms to create pleasing, soul-satisfying
spaces.

The following examples of geometry in the environment frequently influence architectural design.

The Body

When studied under the microscope, living cells reveal a highly ordered system of
shapes and patterns. From the double helix shape of your DNA to the cornea of your
eye, every part of your body follows the same predictable patterns.

Gardens

The jigsaw puzzle of life is made up of recurring shapes and numbers. Leaves, flowers,
seeds, and other living things share the same spiral shapes. Pine cones and pineapples,
in particular, are composed of mathematical spirals. Honeybees and other insects live
structured lives that mimic these patterns. When we create a floral arrangement or walk
through a labyrinth we celebrate nature’s innate forms.

Stones

73
 Nature’s archetypes are reflected in the crystalline forms of gems and stones.
Amazingly, the patterns found in your diamond engagement ring may resemble the
formation of snowflakes and the shape of your own cells. The practice of stacking stones
is a primitive, spiritual activity.

The Sea

Similar shapes and numbers are found beneath the sea, from the swirl of a nautilus shell
to the movement of the tides. Surface waves themselves are patterned, like waves that
pulse through air. Waves have mathematical properties all their own.

The Heavens

Nature’s patterns are echoed in the movement of planets and stars and the cycles of the
moon. Perhaps this is why astrology lies at the heart of so many spiritual beliefs.

Music

The vibrations we call sound follow sacred, archetypal patterns. For this reason, you
may find that certain sound sequences can stimulate the intellect, inspire creativity, and
evoke a deep sense of joy.

The Cosmic Grid

Stonehenge, megalithic tombs, and other ancient sites stretch across the globe along
underground electromagnetic tracks or ley lines. The energy grid formed by these lines
suggests sacred shapes and ratios.

Theology

Best-selling author Dan Brown has made a lot of money by using the concepts of sacred
geometry to weave a spell-binding tale about conspiracy and early Christianity. Brown's
books are pure fiction and have been hotly criticized. But even when we dismiss The Da
Vinci Code as a tall tale, we can't dismiss the importance of numbers and symbols in
religious faith. Concepts of sacred geometry are expressed in the beliefs of Christians,
Jews, Hindus, Muslims, and other formal religions.

Geometry and Architecture

From the pyramids in Egypt to the new World Trade Center tower in New York City, great
architecture uses the same essential building blocks as your body and all living things. In addition,
the principles of geometry are not confined to great temples and monuments. Geometry shapes all
buildings, no matter how humble. Believers say that when we recognize geometric principles and
build upon them, we create dwellings that comfort and inspire. Perhaps this is the idea behind the
architect's conscious use of divine proportion like Le Corbusier did for the United Nations building.

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 Assessment Task

Design Plate No. 8

General Instruction: Use one piece A3 size or half-cut (crosswise) cartolina paper for Task 1 and 2.
Task 1 will be written in a well-formatted way and apply lettering as much as possible. Arrange the
task 1 and 2 as to present it aesthetically.

1. WRITTEN DESIGN CONCEPT

Directions:

Title: GEODESIC DOME

Design Problem: Make a design element expressing your learning and comprehension of the topic on
geometrical shapes and how to manipulate them. The design must be about Geodesic Structures.

Write the Design Concept in essay form (minimum of 200 words). Discuss in the concept the design
process on how you arrived with the final form.

2. DESIGN DRAWING

Directions:

Express your Design Concept and Design flow through freehand drawing.

3. DESIGN MODEL

Directions:

Make a miniature model of your final Design. Materials to be used is limited only with the key material:

- Illustration board, cardboard, versa board or any thick flat surface material, reusable materials
- Joining tools (Glue, masking tape, adhesives)
- Cutting tools

92
Design Plate No. 9
General Instruction: Use one piece A3 size or half-cut (crosswise) cartolina paper for Task 1 and 2.
Task 1 will be written in a well-formatted way and apply lettering as much as possible. Arrange the
task 1, 2, and 3 as to present it aesthetically.

1. WRITTEN DESIGN CONCEPT

Directions:

Title: KINETIC ARCHITECTURE

Design Problem: Make a design element expressing your learning and comprehension of the topic on
geometrical shapes and how to manipulate them. The design must be about Kinetic Architecture.

Write the Design Concept in essay form (minimum of 200 words). Discuss in the concept the design
process on how you arrived with the final form.

2. DESIGN DRAWING

Directions:

Express your Design Concept and Design flow through freehand drawing.

3. DESIGN MODEL

Directions:

Make a miniature model of your final Design. Materials to be used is limited only with the key material:

- Illustration board, cardboard, versa board or any thick flat surface material
- Joining tools (Glue, masking tape, adhesives)
- Cutting tools

93
References:

 Ching, Francis D.K. (2015). Architectural Graphics (6th ed.). John Wiley & Sons Inc.
 Ching, Francis D.K. (2014). Architecture: Form, Space, and Order. John Wiley & Sons Inc.
 Ching, Francis D.K., Juroszek, Steven P. (2010). Design Drawing (2nd ed.). John Wiley &
Sons Inc.
 First in Archtitecture. How to Develop Architectural Concepts. Retrieved from
http://www.firstinarchitecture.co.uk/how-to-develop-architectural-concepts/
 Dietrich, K.. Architectural Design Elements. Retrieved from
http://www.kdietrich.com/thesis/d9a-
research/section%207%20design%20elements/section%207%20design%20elements.pdf
 Craven, Jackie. "Architecture, Geometry, and the Vitruvian Man." ThoughtCo, Aug. 26,
2020, thoughtco.com/geometry-and-architecture-178081.

Images:

 http://williambellamyinfluences.blogspot.com
 https://www.aol.co.uk/2010/07/07/cleanliness-is-next-to-godliness-autoblog-visits-
mclaren/?guccounter=1
 https://www.archdaily.com/893830/mexican-houses-that-show-the-many-ways-to-use-
bricks
 https://saraamin15.files.wordpress.com/2015/09/process1.jpg
 https://www.canva.com/learn/design-elements-principles/
 https://www.pxfuel.com/en/free-photo-odupg

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