LECTURE NOTE!

Introduction to Architecture II -ARC 111 (D-ARC 111)

GOAL AND SPECIFIC OBJECTIVES OF THE COURSE

• To inform prospective architects and architectural students of what to expect:

-The development and importance of design and design in architecture

- Meaning, operationalizing and theorizing function in architecture

- Structure/technology in architectural design

- Introduction to architectural aesthetics

SOURCES OF ACCESS TO LITERATURE

Books: (1) Roth, L. M. Understanding Architecture! Its Elements, History, and Meaning.

(2) Francis D.K. Ching. Architecture - Form, Space and Order.

LECTURE 1: Design in Architecture

▪ THE DEVELOPMENT AND IMPORTANCE OF DESIGN AND DESIGN IN ARCHITECTURE

Architecture Is normally conceived (designed) and realized (built in response to an existing set of
conditions. These conditions may be purely functional in nature, or they may reflect, in varying degrees,
social, economic, political, even whimsical or symbolic intentions. In any case, it is assumed that the
existing set of conditions - the problem - is 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 first phase of any design 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 endeavour. The designer must first
document the existing conditions of a problem, define its context, and collect relevant data to be
assimilated. 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.

Architecture entails both art and science. As an art, architecture is more than satisfying the purely
functional requirements of a building program. Fundamentally, the physical manifestations of
architecture accommodate human activity. However, the arrangement and organization of the elements
of form and space will determine how architecture might promote endeavours, elicit responses,
communicate meaning and solve problems. These elements of form and spaces are presented,
therefore, not as an end in themselves, but as a means to solve a problem in response to conditions of
function, purpose, and context – that is, architecturally.
▪ DESIGN IN ARCHITECTURE: MEANING/CHARACTERISTICS OF DESIGN

In a design process, there are basic elements, systems, and orders that constitute physical work of
architecture. These constituents can all be perceived and experienced. Some may be readily apparent
while others may be more obscure to our senses. Some may dominate while others play a secondary
role in a building's organization. Some may convey images and meaning while others may serve as
qualifiers or modifiers of these images and meanings.

The analogy in design 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 compositions 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 meeting. It should
be useful, therefore, for the student of design to recognize the basic elements of architectural form and
space, to understand how they can be manipulated in the development of a design concept, and realize
their Visual implications in the implementation of a design solution.

▪ HOW TO DO DESIGN

Design, in the context of architecture, is simply the activity of generating proposals that change
something that already exists into something that is better, Design can be viewed as a three-part
process consisting of an initial state, a method or process of transformation, and an imagined future
state. These components also define the functions of the architectural design as;

(1) to identify problems,

(2) Identify methods for achieving solutions, and

(3) Implement those solutions.

In more practical terms, these functions are;

1) Programming

(2) Generating alternative building designs, and

(3) Implementing plans.

1. PROGRAMMING

Architectural programming is part of the pre-development phase of a building project it is the research
and decision-making process that brings together your list of needs, ultimately identifying the scope of
work to be designed.
The amount of space needed and the relationships required among the spaces (sometimes in the way
bubble diagram) are two primary factors in determining building size and configuration. Programming
also incorporates additional factors such as site analysis, aesthetic consideration, quality of building,
circulation, exterior envelope, outdoor space heeds, codes, budgeting demands, scheduling limitations,
and other factors unique to your situation.

Through discussions and an interactive process, programming provides the designer with initial
information about goals, current space usage, and needs. It will assist in establishing optimal size and
organizing relationships between different space functions relative to the type of services to be provided.

For specific building types with unique functions, such as theatres, museums, laboratories, senior
facilities or health care, additional consultants with special experts in programming for that specific type
of facilities, are often engaged.

Why is programming important?

Research shows a direct relationship between the level of pre-development planning and project
success. Additionally, the most cost-effective time to make changes is during pre-development.

Since stakeholders are involved in defining the scope of work prior to design, architectural programming
helps to:

a) Improve the chance of meeting organizational goals and community needs.

b) Avoid unnecessary risk

c) Improve the likelihood that the design is based on sound decisions established early in the process.

d) Increase the long-term viability of the facility

e) Prevent staff and board burn-out from excessive timelines

f) Reduce total project cost with early clarification of design by avoiding costly redesign during later
phases of the architectural design process.

2. GENERATING ALTERNATIVE BUILDING DESIGN

Generating alternative building design is a “Design thinking process” which can be illustrated with the
bubbles below:

Emphasize Ideate
Test

Define Prototype
A design thinking process starts with the belief; everyone is a designer and design is everywhere While
the above image suggests a step-by-step process, design thinking is a non-linear and interactive. It
means companies like “Degreed” are continuously building, redefining, innovating and improving
products and services, The five stages of design thinking as shown in the images above consists of:

1-Empathizing: Understand your users wants and their needs.

2- Defining: Analyze and identify issues to be solved.

3-Ideating: Create and share ideas-even the off-the- wall one.

4- Prototyping: Draw up solutions.

5. Testing: Just as it says, go forth and test your solutions.

When you stop and think about the process, you might realize you use it in everyday life - all the time.
You practice design in the ways you plan out your day, arrange furniture, build spreadsheets or create
training programs.

The most important foundational piece of design thinking is integrating the end users' needs before you
begin creating isn't wasted solving the wrong problems. It's a mindset of relentlessly trying to
"understand the user and problem at hand”.

3. IMPLEMENTING PLANS

Plans implementation involves many phases of architectural project execution process. It is the path
that leads from the project stage into people's lives.

What is a functional brief in architecture?

A functional brief is a document that outlines the specific needs and requirements for a space or facility.
It is typically used in the planning and design phases of a project can be used to help determine the most
efficient and effective layout for the space. The functional brief should include a schedule of occupants,
teaching spaces and ancillary rooms, as well as detail on the office space requirements for each
occupant. Additionally, the function brief should include the teaching room capacities and the special
room and ancillary room needs

The “functional brief” is all about researching/studying all the necessary requirements to create a
functional design, and “design” is all about creating a visual experience that is pleasing to the eye and
engages the viewer. To do this, designers must keep in mind that seven principles of design: balance,
rhythm, emphasis, proportion and scale, movement, contrast, and unity.

(1) Balance: is the distribution of visual elements throughout the design.

(2) Rhythm: is the repetition of visual elements to create a sense of movement.

(3) Emphasis: is the focal point of the design, the element that stands out the most.
(4) Proportion and scale: This refers to the size of the elements in relation to each other and to the
overall design.

(5) Movement: This is the sense of motion created by the placement of the elements.

(6) Contrast: is the use of different colours, texture or values to create visual interest.

(7) Unity - This is the overall cohesiveness of the design.

FIVE PHASES OF ARCHITECTURAL PROJECT IMPLEMENTATION IN PRACTICE

Five phases of Architecture that are commonly referred to throughout the industry are; Schematic
Design, Design Development, Contract Documents, Bidding, Contract Administration.

1. SCHEMATIC DESIGN: This is the first phase of the architectural process, after the collection of a
functional brief, where the needs and wants are translated into a preliminary concept for the project.

2. DESIGN DEVELOPMENT: This is the second phase of the architectural process where the preliminary
concept is further developed and refined.

3. CONTRACT DOCUMENTS: This is the third phase of the architectural process where the project's final
design is documented in detail and used to solicit bids from potential contractors.

4. BIDDING: is the fourth phase of the architectural process where potential contractors submit bids to
the architect or owner, for selection to execute the building project.

5. CONTRACT ADMINISTRATION: The fifth and final phase of the architectural process where the
architect or owner oversees the construction of the project to ensure that it is built in accordance with
the contract documents.

LECTURE 2-Function in architecture

▪ MEANING AND DIMENSIONS OF FUNCTION

The basic functions of architecture are to enclose space, to support and protect the occupants of that
space, and to provide for the efficient use of utilities such as light, heat and ventilation. In addition,
architecture often expresses the values, culture, and history of the society in which it was built.

Marcus Vitruvius, the pioneering Roman architect, belonging to Julius Caesar's time (1st century BC),
and the most revered Codifier of architectural principles asserts in De architectura, that any architecture
must be founded upon the three qualities of ‘firmita, utilitas, vemistas’, meaning it must be durable,
functional, and aesthetic. These three principles are essential for good architecture - it should reach to
an optimum combination of firmness (durability), utility (functionality), and beauty (aesthetic).
 - Firmness ensures that the structure will stand the test of time. That the foundations were solid
and the materials of the building well selected.

- Utility ensures that the structure is functional and can be used for its intended purpose. It
means that the arrangement of rooms and spaces is without difficulty so that a building is
perfectly suited to its site.

- Beauty ensures that the structure is aesthetically pleasing and in good taste - and will be
enjoyed by those who use it.

By following these principles, we can create structures that are both functional and beautiful.

DIMENSIONS OF FUNCTION IN ARCHITECTURE

In order to have a successful architectural project, you have to consider many principles while designing
and all the way through the process, the form and the function of a building is one of the major
principles we have to consider while designing. The topic of “form and function” is often being discussed
and debated over and over again through architectural studies and even through working in real
industry. So, what is the meaning of “form and function” in architecture today and what are the
relationship between them? This leads to THEORIZING FUNCTION IN ARCHITECTURE

(1) Form follows Function:

From Louis Sullivan's text, "all things in nature have a shape, that is to say a form - an outward
semblance that tells us what they are, that distinguishes them from ourselves and from each other”. The
form of a building usually gives the first impression remarkably that's why form plays a very Important
role to add; it attracts the eye towards the exterior form of the building, moreover, it can deliver the
message of the building concept and the characteristics without people even going into the building.
The term "Form follows function" coined by Louis Sullivan meant that the form of any building should be
defined by the functions to be carried out inside it, rather than historical perception or aesthetic ideals.

Frank Lloyd Wright, who was Sullivan's assistant, adopted the phrase "form follows function” and
further promoted it. The Guggenheim Museum is a good example of Wright's it's application of the
principle, it’s spiral shape was intended to allow visitors to easily view the artwork within.

(2) Function follows Form

Some School of thoughts of the functionalist's believed in the opposite movement. They believed that
the form of the building should not be the architect's primary consideration, and any function or
activities that the building is to house should be accommodated into this form. This school of thought
believed that some forms are created with the external appearance of the building in mind, and such
forms stands to be sculptural and aesthetic.

In the other hand, function is a term that consider usage or the activity that will be held inside the space
or the building more important than how it looks. Function change over time, but there are many
factors that will affect the relationships between form and functionality of a building, including
technology, use of space and materials for building.

NOTE

Indeed, to some extent, it is still a bit confusing relationship between function and form, and if “function
follows form” or “form follows functions”. Sometimes, it’s not considered as a rule, buildings have
different purposes and different way of communicating everyone with its own characteristics so they
are relied on each other in order to design good buildings.

To conclude, I think Form and Function follow each other as it depends on what building you are
designing. Sometimes, designing a specific space must have a certain form in order to convey it's
message and concept. In the other hand, some buildings still need functions as its main principle in
order to hand over the buildings true propose and needs. Yet, I think that “Form follows Function”
taking the human body as the simplest example to show that function is still important than form.
However, a good architect should think of both the form and the function at the same time.

In addition to the foregoing concept, the principle of "form follows function” in architecture, is the idea
that the form of a building should be determined by its purpose, rather than by aesthetic considerations.
This principle is often used in the design of functional buildings such as factories, warehouses, and office
buildings, where the primary concerns is making the most efficient use of space.

▪ OPERATIONALISING (TYPES OF) FUNCTION IN ARCHITECTURE

There are different types of function in Architecture, namely;

(1) Pragmatic Function: Accommodation of a specific use in a room or space, e.g. A room may be
used for sleeping only and as such contain a bed, or be used as an office cell, containing a desk.
The placement, form and features of a building must reflect its intended use.

(2) Circulatory function: The making of appropriate spaces to direct movement from area to area.
Most buildings contain numerous rooms with interrelated functions. People naturally need to
move from one space to another, therefore, the circulatory function should be well articulated
and satisfied. In some buildings, the circulatory route may "allow the use of the space to be
better understood or experienced, e.g., the hell-ways of art galleries and museums.

(3) Symbolic function: A building also has a symbolic function and demonstrates its use by its
exterior view. We usually expect a correspondence between buildings appearance and its use,
e.g., religious buildings, institutional buildings, airport buildings. However, building contains a
mixture of functions; pragmatic, circulatory, symbolic or psychological, -brut in different
percentages.

(4) Psychological function: Good architecture has also physical and psychological functions to fulfill.
For example, a waiting room in a doctor's office or a hospital emergency room are the places
 where people feet heightened levels of anxiety. An architect may determine that creating a
domestic environment there or to give a view of garden would help reduce the level of anxiety.

(5) Cultural and Contextual functions: Function is also socially and culturally influenced, and a
building form also respond to its physical setting and climate. Every building has the
responsibility to respect and to be in harmony with its environment. The building has to answer
to the genius loci (spirit of the place - a location's distinctive atmosphere) of that place. It is also
called Environmental function. Architectural function can be considered from the outside in.
Since a building enclosure acts to modulate the effects of sun, rain, dust and other elements, a
functional sustainable design can produce a sophisticated building envelope that can reduce the
amount of energy need to maintain a comfortable interior.

LECTURE 3-Structure/technology in architecture and design

▪ ARCHITECTURE AND TECHNOLOGY

Historical Antecedent:

There have always been buildings made of structures, buildings with very simple structures always
existed throughout history and prehistory of humanity. However, those buildings are classified as local
rather than architectural monuments. As humans developed, buildings evolved from simple building
structures from prehistoric times to more complex forms developed in various era. Physical
characteristics of the Greek temples was their perfect fit with geometric regularities. Simple Modern
buildings evolved in the modernist era with functionality as their primary concern.

After the Industrial Revolution, and with the development of new materials and structures, "High tech"
architectural thinking came to light. It entailed thinking about the structure as architecture. It became
the great achievement of modernity. This new era saw to the development of buildings integrating the
progress made in science and technology, representing technology as the extract and achievement of
the new era. The school of thought “High tech" was known to represent the building process, displayed
transparency, layering and displaying the movement of the building. They were known to represent the
structure and component of the building facade and plans, use simple bright colours, they saw structure
and construction as the design. The High-tech architects were known to use simple bright colours,
applying light tensile elements, separated the service provider parts from the parts that need to be
serviced, and displayed roof designs as the fifth façade.

Hence advancement in technology saw to the development of skyscrapers, façade structures, shell
strictures bridges, tensile structures etc.
STRUCTURE IN ARCHITECTURE

In order to invent a structure and to give it exact proportions, one must follow both the intuitive and
mathematical paths. The great works of the distant past, built at a time when great scientific theories
were nonexistent, bear witness to the efficiency and power of intuition.

Architects will find it particularly useful to study Structure in Architecture in depth and to meditate upon
it, since even if they can entrust the final calculation of a structure to a specialist, they themselves must
first be able to invent it and give it correct proportions. Only then will a structure be born, healthy, vital
and, possibly, beautiful.

Structure is an essential component of architecture, and always has been. No matter whether man built
a simple shelter for himself and his family or enclosed large spaces where hundreds could worship, trade,
discuss politics, or be entertained, he has had to shape certain materials and use them in certain
quantities to make his architecture stand up against the pull of the earth and other dangerous forces.
Wind, lightning, earthquakes, and fires had to be resisted, if possible, with expenditures of labour and
materials that were not unreasonable in relation to their availability, And because from earliest times a
sense of beauty has been innate in man, all construction was also conceived according to certain
aesthetic tenets which would often impose on the structure far more stringent requirements than those
of strength and economy,

The contemporary architect, perhaps the Last humanist of our time, should be conversant with
aesthetics, engineering, sociology, economics, ecology, and, generally, with planning. Instead, under the
influence of tradition, he is often trained primarily as an artist.

On the other hand, the knowledge of the engineer in the fields of sociology, aesthetics, and planning is
as limited as that of the architect in technical subjects. A dialogue between the architect and the
engineer becomes practically impossible: they lack a common vocabulary. Since this dialogue is
necessary, one may wonder, at first, whether the engineer should become more of an architect or the
architect more of an engineer? But little thought is required to realize why it is mainly up to the
architect to bridge the gap. The architect is the leader of the construction team, the engineer is just one
of its members. The architect has the responsibility and the glory, the engineer but a service to render.

Knowledge of structure is important because erecting a building without considering the structural
design is a high risk. The building is likely to collapse under its own weight or due to environmental
pressures. Structural design crucial to construction projects because it impacts the safety and durability
of the structures.

Hence, structure in architecture refers to the way in which the fundamental components of a building or
other man-made structures are arranged and connected. The term is also used to refer to the strength
and stability of a given structure. A well-designed and well-constructed structure will be able to
withstand the forces to which it is subjected and will not collapse.
The Purpose of Structure

Structures are always built for a definite purpose This utilitarian element is one of the essential
differences between structure and sculpture there is no structure for structure's sake,

Structure's main purpose is to enclose and define space, although, at times, a structure is only built to
connect two points, as in the case of bridges and elevators, or to withstand the action of natural forces,
as in the case of dams or retaining walls.

Architectural structures, in particular, enclose and define a space in order to make it useful for a
particular function. Their usefulness stems, generally, from the total or partial separation of the defined
space from the weather and may not require its complete enclosure; as in the case of a cantilevered
roof of a stadium which stands to protect spectators from the weather without enclosing them in a
space.

The enclosed space may serve many different purposes: the protection of the family, the manufacture
of industrial products, the worship of deity, the entertainment of citizens, the gathering of lawmakers,
etc. Different purpose, served by different spaces, regime different structures, but all structures, by the
simple fact of their existence, are submitted to and must resist a variety of loads. Only in rare cases is
resistance to loads the primary purpose of a structure: loads are, usually, a necessary and unavoidable
evil.

TYPES OF LOADS ON A STRUCTURE

The determination of loads acting on a structure is a complex problem. The nature of the loads varies
essentially with the architectural design, the materials, and the location of the structure. Loading
conditions on the same structure may change from time to time, or may change rapidly with time.

In order to simplify the checking of structural strength, the loads commonly encountered in practice are
not evaluated case by case, but are suggested, and even dictated, to the designer by rules and
regulations contained in codes. The equivalent load on a structure must be such that under worst
circumstances the structure will not fail: the greater the uncertainty about the actual load, the greater
the multiple, or factor of safety, adopted in the codes.

Some of the loads that can be encountered in a structure can be enumerated as follows;

1. STATIC LOAD: The most important loads carried by an architectural structure do not change rapidly
with time: they are called static, and are the basis for the design of the structure. To consider a load to
be static, it must have a magnitude, direction, and location that do not change.

The load to be carried by the floor of a building varies so much, depending on the occupant of the floor,
the distribution of furniture, the weight of machines, or the storage of goods, that codes substitute for it
an equivalent load. This equivalent load is derived, on the basis of statistical evidence, for given types of
buildings, and is modified from time to time as new conditions arise.
2. DEAD LOAD: The unavoidable weight of the structure itself and the weight of all loads permanently on
it constitute dead load. It is one of the paradoxes of structural design that one must know the dead load
beforehand in order to design the structure, while it cannot be determined until the structure is
designed. The dimensions of a structural element depend essentially on the loads acting on it, and one
of these loads is the dead load which in turn depends on the dimensions of the elements. The designer
is compelled to start the calculation of a structure by guessing its dimensions and, hence, its dead load.
He then adds to it all the other loads, check its strength, and finds out at the very end of the calculation
whether his guess was correct. Long practice alone will prevent innumerable wrong guesses in structural
design. The checking of the strength of a given structural element for given loads, called structural
analysis, is a fairly routine operation. The initial educated guess, called structural design, must come
from experience and is often the result of an almost artistic intuition rather than of scientific calculations.

3. LIVE LOADS: All loads other than the dead load of the structure are called live loads. They include all
the movable weights to be carried: humans and animals, machines and fixtures, partitions and other
non-structural elements; rain, snow, and ice. The pressure of suction of wind, the pressure of water, and
the push of earth on a structure are among the live loads.

It should be noted that wind load (as live load) on a building is difficult to ascertain with any degree of
accuracy, because it depends on the wind velocity and or the shape and surface area of the building.

4 THERMAL AND SETTLEMENT LOADS: All structures are exposed to temperature changes, and change
shape and dimensions during the cycle of day and night temperatures, and the longer cycle of summer
and winter temperatures. The effects of changes in dimensions due to thermal expansion and
contraction are often equivalent to large loads, which may be particularly dangerous because they are
invisibles A simple example of this type of loading condition will suffice to indicate and importance its
nature and its importance.

Take the case of a steel bridge that have one of its supported ends "fixed", and by supporting the other
end on a “rocker". This is done to allow for free movement of the bridge in the event of thermal load by
expansion and contraction of the bridge during hot (summer) days and cold (winter) seasons. A similar
condition of thermal expansion, with different but equally dangerous consequences, is encountered in
large domes. When the external temperature increases or decreases, the dome tends to expand or
contract. Since it is usually prevented from so doing by its underground supports, which remain at a
constant temperature, it will move mostly up or down - resulting to thermal load due to the movement.
A special type of sliding support fixed at one end of the dome eliminates this danger.

5. DYNAMIC LOADS: All the loads considered in the preceding section were assumed not to change, or,
at least, to change slowly with time: they are said to act statically. In codes, even the wind is assumed to
act “statically" although it obviously does not.

Loads that change value or location rapidly, or are applied suddenly are called dynamic loads.
▪ Continuation of STRUCTURE IN ARCHITECTURE

Structure in architecture refers to the way in which the fundamental components of a building or other
man-made structure are arranged and interconnected. The term can refer to the overall elements such
as the building, or layout of a build to individual the roof, walls, and foundation. The structure of a
building is a critical factor in its stability to resist the forces of nature and to support the weight of its
inhabitants and contents. A well-designed and well-constructed structure will be able to withstand the
forces to which it is subjected and will not collapse.

Three types of structures in Architecture

1. SHELL STRUCTURES: A shell structure is a structure composed of a thin shell of material, whether it be
concrete, steel, glass, sap, etc. The defining characteristics of shell strictures is that the material
thickness is small compared to other dimensions. The advantages of shell structures is that they can be
very light weight, yet still support a great deal of space, weight and/or pressure. An example of a shell
structure would be an eggshell or a soccer ball.

2. FRAME STRUCTURES: A frame structure is a structure composed of a series of linear elements (beams
and columns) that are connected to form a rigid frame work. The advantage of frame structures is that
they are typically very strong and can span large distances. An example of a frame structure would be a
skyscraper.

3. SOLID STRUCTURES: A solid structure is a structure composed of a solid material, such as concrete,
stone, brick. The defining characteristic of solid structures is that they are very heavyweight and have a
very nigh resistance to external forces. The advantage of structures is that they a are very stable and can
withstand a great deal of weight and/or pressure. An example of a solid structure would be a mountain.

LECTURE 4-Introduction to architectural aesthetics

Aesthetics, i.e. the science concerned with beauty, was originally a part of philosophy, It has now
become elevated to the rank of an independent scientific discipline but leading scientists on aesthetics
even today are also philosophers (e.g. Lyotard, Derrida). The main fields of aesthetics have always been
literature, art, music. In modern times it is very much engaged with film, industrial design and leisure
crafts. What architects are doing to attain the objective of designing pleasing buildings, make up the
study of architectural aesthetics, an applied part of overall aesthetics.

A noteable early publication about architectural aesthetics was authored by Roman Vitruvius. Indeed,
Michael Hawley notes that Vitruvius' order - and remember this was more than 2000 years ago - has
finitas (buildings should be structurally sound shelters), utilitas (they should accommodate human
needs), and venistas (they should be beautiful like Venus). There followed in the renaissance period,
Palladic, in the first half of the twentieth century, Le Corbusier, and during the period 1960-2000, a host
of theoreticians, architects and non-architects: Zevi, Venturi, Jencks, Eisenman and other - all
proponents of aesthetic philosophy.
Modern architecture (which may be thought of as basically spanning the period from 1920 to 1960) held
fast to the tenet that it did not need to attain its aims by means of the ornamentation and decorations
of historical styles and that the use of up-to-date structures (structuralism, constructivism) would suffice
also for aesthetics objectives. This rationalism changed in about 1960. Irrationalism and sometimes
mysticism regained a place, ornaments and decorations were no longer “taboo”. Philp Johnson declared
that, “whilst the moderns hated the history and the symbolism, we (i.e. the post-moderns) are fond of
them” the modems built without consideration for the site, we are seeking for the genius Loci to receive
inspiration from the spirt of the site”. Modernism, as has been seen from literature, negates decorations
and in particular, historical style forms. Post-modernism revives decorations but its ideas on harmony
and disharmony and on sculptures are quite different.

The aesthetic characteristics of new architecture often demonstrate the influence of technical progress
but sometimes, partly or fully, cannot be derived from technology and are consequences of purely
architectural considerations. In analyzing general design principles, we may state that whilst earlier
designers sought to achieve a situation where their buildings radiated harmony, post-modem architects
consciously aim at dynamism. Symmetry is replaced by asymmetry, smooth linkages by hard contrasts.

LECTURE-4-Introduction to architectural aesthetics

▪ FORM AND SPACE IN ARCHITECTURE

In architectural design, space is a critical element that can impact a buildings function, atmosphere, and
overall aesthetic. Architects use space to create a sense of flow and movement (function) within a
building, and to control the amount of light and air that enters. They also use space to create a sense of
hierarchy and order, to separate public and private areas, and to define different functions within a
building.

FORM AND SPACE ARE COMPLEMENTARY

Form creates space, and since the space must be used for particular functions; there is a proponent that
“form must follow function”

SPACE FORM
complementary

follows

FUNCTION
Form refers to the physical structure or shape of an object, including its size, mass and volume. Form
can be organic or geometric and can covey emotions and ideas through its design. Space refers to the
area around, between, and within objects. It can be positive or negative, and it affects the perception of
form. Positive space refers to the occupied space of an object, while negative space refers to the
unoccupied space around it.

1.) Formation of Space in Architecture

• The spaces created by a building include both interior space and exterior space, which may interweave
or influence each other.

• Architectural elements like columns, walls, floors and ceilings are physical elements that shape a space

• Form contains functional spaces and spaces functional offers particular experiences

• Parameters controlling form and space include shape, degree of enclosure, dimensions, proportions,
materials, colours and textures.

Plans Interior space

Volume
Point Line of space

Exterior space

Axonometric drawings
NOTE: the following

a. In plan, columns at four ‘points’ of a square grid define a square or rectangular space in
between. In elevation, they are seen as vertical linear elements of the space.

b. In plan, a row of columns creates a “line” that separates two spaces. At the same time, it creates
a vertical ‘plane’- walls are vertical planes, and floors and ceilings are horizontal planes. They
create the volume of spaces for our daily activities.

c. Buildings in a city can be regarded as large-scale 'volumes’ The elevations of the buildings create
external spaces between their vertical planes. These spaces may be narrow sheets or wide
plazas.

2. Relationship of Form and Space

The relationship between form and space is central to the principles of design and art. Form refers to
the physical structure, shape, and appearance of the object or composition, while space refers to the
aver or volume around, between, and within objects.

• The relationship between form and space is dynamic, as the form can define and shape space, while
space can influence and alter the form. For example, a tall building creates a sense of vertical space,
white a wide-open park creates a sense of horizontal space.

• In design, the relationship between form and space is used to create visual interest, convey modes and
emotions, and communicate ideas. Positive space refers to the occupied space of an object, while
negative space refers to the unoccupied space around it. The balance between positive and negative
space can create a sense of harmony, stability, and visual interest in a composition.

• In design, form and space are used to create balance, harmony and visual interest. The relationship
between form and space can convey a sense of depth, movement, and scale. Designers consider the use
of form and space to create compositions that are aesthetically pleasing and communicate their
intended message.

3.) Form and Space (Unity of opposites)

Our visual field normally consists of various elements that differ in shape, size, colour, or orientation. To
better comprehend the structure of a visual field, we tend to organize its elements into two opposing
groups.

• Positive elements, which are perceived as figures and Negative elements, which provide a
background for the figures.

• Our perception and understanding of a composition depend on how we interpret the visual interaction.
between the positive and negative elements within its field.
• Our visual field normally consists of heterogeneous elements that differ in shape, size, colour, or
orientation.

• Architectural form occurs at the junction between mass and space. In executing and reading design
drawings, we should be concerned with both the form of the mass containing a volume of space as well
as the form of the spatial volume itself.

• The interdependent relationship of the forms of mass and space in architecture can be examined and
found to exist at several different scales.

• At each level, we should be concerned not only with the form of a building but also its impact on the
space around it.

• At an urban scale, we should carefully consider whether the role of a building is to continue the
existing fabric of a place, form a backdrop for other buildings, or define a positive unban space, or
whether it might be appropriate for it to stand free as a significant object in space.

• At the scale of a building site, there are various strategies for relating the form of a building to the
space around it.