1 - Architectural Interiors and The Theories of Architecture Module PDF

AC 423
Architectural Correlations
THEORIES OF ARCHITECTURE:
Theories of Architecture 01 (TOA 113)
Theories of Architecture 02 (TOA 123)
Architectural Interiors (TOA 313)
BS in ARCHITECTURE 4A
Second Semester, A.Y.: 2014 2015
AC 423: Architectural Correlations

Second Semester, A.Y.: 2014 - 2015
THEORIES OF ARCHITECTURE 01 (TOA 113)

Module source: Arch. Godesil G. Lejarde, uap
PRINCIPLES OF ARCHITECTURE
A structure/building is composed of two essentials:
1. Invisible Structure- the plan or the horizontal disposition of a building. It is the most important
element of the volume and the first consideration in planning of a building.
2. Visible Structure- the apparent volume which is readily seen by the observer, the faade of the
building. The visible structure is composed of:
a. Form determined by mass or volume, created by enclosing a space and is three-dimensional.
Qualities of form are direction-the vertical or horizontal axis of mass; and shape- geometric
qualities.
b. Surface surface of an area is composed of two-dimensions. Its qualities are texture, tone and
color.
ELEMENTS OF DESIGN
1. Form- is the primary identifying characteristic of volume, it is determined by the shapes and
interrelationships of the planes that describe the boundaries of the volume. It is composed of:
a. Points/Vertices it is where several planes come together.
b. Planes/ Surfaces the limits or boundaries of a volume.
c. Lines/ Edges it is where two planes meet.
Regular Forms are those whose parts are related to one another in a consistent and orderly manner.
They are generally stable in nature and symmetrical about one or more axes, prime example of these
are platonic solids.
Irregular Forms asymmetrical and more dynamic than regular forms. Irregular forms are dissimilar
in nature and related to one another in an inconsistent manner.
Transformation of forms:
a. Dimensional Transformations transformation obtained by altering one or more of its
dimensions.
b. Subtractive Transformations jobtained by subtracting a portion of its volume.
Visual Properties of form:
a. Shape product of configuration of a forms surface and edges.
b. Size the real dimension of form, its length, width, and depth.
c. Color the hue, intensity and the value of forms surface.
d. Texture the surface characteristic of a form.
e. Position location of form relative to its environment or visual field-front, right, left, rear
f. Orientation position of form relative to the ground plane. The compass points or to the person
viewing the form.
g. Visual Inertia the degree of concentration and stability of form, the visual inertia of a form
depends on its geometry as well as its orientation relative to the ground plane and our line of
sight.
2. Shape - it is the planes primary identifying characteristics. It refers to the edge contour of a plane or
the silhouette of a volume. It is the primary means by which we recognize and identify the form of an
object.
Primary Shapes:
a. Square represents the pure and the rational. It is static and its neutral figure has no preferred
direction. It is stable when resting on one of its sides and dynamic when standing on one of its
corners.
Architectural Interiors and the Theories of Architecture 01 and 02

b. Triangle signifies stability when resting on one of its sides. An extremely stable figure.
c. Circle a centralized introverted figure that is normally stable and self-centering in its
environment.
Platonic Solids are generated from different shapes. Forms that have been extended or rotated to
generate volumes whose forms are distinct, regular and easily recognizable.
a. Sphere is a centralized and highly concentrated form, self-centering and normally stable in its
environment. Retains its circular shape from any viewpoint.
b. Cylinder is centralized on the axis defined by the centers of two circular faces.
c. Cone is generated by rotating an equilateral triangle about its vertical axis.
d. Pyramid has properties similar to a cone. Generated from a square and a triangle.
e. Cube a prismatic forms that has six equal sides, square faces and 12 edges of equal length.
In architecture, we are concerned with the shapes of:
a. Planes- ceilings, floors, walls that enclose space.
b. Openings-windows and doors within a spatial enclosure
c. Silhouettes of building forms
3. Lines are sets of points. Representation or abstraction of the boundaries or edges found in nature.
Categories of Line:
a. Straight has strength in character
b. Curved gives an idea of grace
c. Combinations
a.
b.
c.
d.
Direction of Lines:
Horizontal to make an element look wider or stouter, shows peace
Vertical tends to make an object/ element look slimmer and shows dignity.
Diagonal
Combination
Emotional Quality of Lines:
a. Excitement combination of straight and curve, broken lines
b. Silence, Calm horizontal.
c. Dignified fine and vertical
d. Anger, Collapse broken lines
e. Happiness, Contentment - horizontal, curved fine and regular lines that vanish
f. Power bold lines
Classification of Lines according to uses:
a. Structural to define a shape, to indicate background and give prominence to the faade
b. Decorative to form an overall pattern, to express the pure beauty of lines to express an
emotional or physical quality, to create an emotional or physical quality, to create an optical
illusion.
Gender of Lines:
a. Masculine straight line
b. Feminine curve line
4. Color the quality of light, created when our optic nerves react to the given ray of light.
Characteristics of Color:
a. Hue color itself, names of color, classification: primary, secondary and tertiary

b. Value lightness or darkness of color. 9 values: white, highlight, light, low light, middle, high dark,
dark, low dark, black
i. Tints - colors above the normal value (e.g., pink-tint of red)
ii. Shade - colors below the normal value (e.g., maroon-shade of red)
c. Intensity- brightness or dullness of color.
Texture affects the intensity.
a. Rough surfaces tend to absorb light which make the color dull
b. Polished surfaces tend to reflect light which make the color bright.
Harmony of Colors:
a. Monochromatic single color in varying subdued color
b. Analogous several hues with several variation of color which could be found adjacent to each
other on the color wheel.
c. Accented Neutral accent and dominant color
Contrasted Color Harmony:
Complementary compliments but when combined produces neutral color wheel
a. Simple Complementary colors opposite to each other on the color wheel.
b. Split Complementary split right to the opposite, use one color and two color located on each
side of its compliment.
c. Double Complimentary refers to the use of two adjacent colors with their respective
compliments.
Triad made by using three colors that are equidistant from each other in the color wheel.
Warm Colors - tend to advance toward the observer
Cool Colors - blue, green, appear to recede, showing infinity, immensity of space
Psychological Effects of Colors:
Red rage or passion, prosperity and good luck
Yellow gaiety, stimulating cheer-to the lazy, upsetting to the nervous
Orange has stimulating effect and should usually be used in relatively small amount
Brown is restful and warming
Gray suggests cold
White is cheerful
Purple is sedative and soothing
Blue is peaceful and tranquil
Green has a cooling quality and acts as a sedative
Color Codes / Safety Color Guides:
Red stop, fire protection equipment and apparatus
Orange danger
Yellow caution/risk
Green safety, growth
Blue mandatory action
Purple radiation, hazards
Black, White or Combination of both traffic or housekeeping markings.
5. Texture- refers to surface treatment and usually associated with materials.

Combination of Textures: There are no laws concerning the combination of textures. One should have
sensitivity to textures; combination should have something in common or be a pleasant contrast.

Pattern and Textures: The thicker or stronger the texture, the softer, the softer and more diminished
the color seems. Flat, smooth, glossy surfaces project a much brighter image the soft ones.
PRINCIPLES OF CREATIVITY
Creativity is the process of coming up with new ideas.
Elements in Developing Creativity:
a. Ideation the mental process which gives the ability to think or ideate
b. Idea Quantity the capacity to produce the largest number of ideas per unit of time
c. Imagineering the process of letting the imagination soar and then engineering it back to reality
Design must concern itself with both the practical and the beautiful. The more satisfaction of the
requirements of purpose or function with respect of comfort, utility and strength, produced only an
engineering structure without the spirit of architecture which is called the logical beauty. Practical design
should work with aesthetic design, the collaboration of both may end up with a building that functions well
and gives the user a product based on the consideration of function, strength and beauty (appearance).
The principles by which modern architecture should be developed are as follows:
1. Function of the structure. The design must satisfy the purpose of requirements of the building. It must
satisfy the needs of the client and/or users.
a. Relationship of units correct placing for proper circulation
b. Physical qualities of units correct size and shape for equipment, furniture and circulation.
2. Strength of the structure. There should be a simple structural scheme, one which is suited to the
purpose of the building and the desired character in appearance.
a. Correct use of materials and construction
b. Relation to function
c. Economy of materials
d. Adequacy of structure
e. Honesty of expression
3. Appearance of the structure
a. Composition of mass, volume, areas, details, organized according to contrast, proportion, scale,
balance, rhythm, unity, and character.
ARCHITECTURAL DESIGN COMPOSITION
It is necessary that a building, aside from its functional development, should be organized for
appearance in accordance with the rules of composition.
Steps in Architectural Design:
1. Horizontal Disposition (Plan)
a. Arrangement of units according to function
b. Arrangement of units according to plan composition
2. Vertical Growth (Faade)
a. Creation of Volume and space relationships
b. Development of mass and its composition
c. Selection of type of construction
3. Conditioning Process
a. Space organized for convenience-selection of materials, introduction of circulatory elements:
doors, windows, stairs, corridors

b. Space organized for comfort- introduction of mechanical equipment for light, heat, and sanitation
c. Space organized for appearance.
Interior and exterior surface and volumes conditioned according to principles of composition.
PRINCIPLES OF PLAN COMPOSITION
Principles are ideas or truths learned throughout the ages.
All our acts of selections and arrangements are decisions in design.
All of us work in a variety of ways when we create design.
All of us have different means that will alter our choices.
The materials that are available at the time we are planning the design will surely influence our
choices. The locality where design is created will affect it.
The tools and processes used in the development in the design will alter our individual approach to
the problem.
Therefore, principles will set us standards to judge what is beautiful. All forms of art such as music,
theater, painting, sculpture, including architecture has the same basic principles common to all. These
principles can be utilized to create order in a composition.
There exists a natural diversity and complexity in the program requirements for buildings. Their
forms and space must acknowledge the hierarchy inherent in the functions they accommodate, the users they
serve, the purposes or the meaning they convey, the scope or context they address.
It is in recognition of this natural diversity, complexity and hierarchy in the program and substance of
the buildings that ordering principles are discussed.
Order without diversity can result to monotony or boredom, diversity without order can produce
chaos.
Design principles are seen as visual devices that allow the diverse forms and spaces of a building to
co-exist perpetually within an ordered and unified whole.
More recognition of these principles does not, however, insure a successful design. Creative ability,
in addition to knowledge of application of elements of design is necessary in the production of distinguished
results. Ability to discern between what is fine and what is mediocre, that quality which we call Taste must be
developed.
A good plan should be organic, that is it should be arranged that the composition will be disturbed
if one element is moved. It should have a parti or scheme behind its composition.
The principles of plan compositions are:
A. Primary Principles:
1. Contrast: is used to give emphasis or interest by producing:
a. difference in sizes of areas
b. variation in shape
c. contrast in character, e.g., contrast between open and closed spaces
d. contrast in direction
2. Balance
a. Symmetrical balance about a central axis. This type of balance gives a feeling of repose and
order

b. Unsymmetrical balance. This results from an informal arrangement.
3. Emphasis: This is to have one unit of the plan give emphasis to one particular phase of the activity
which is to be carried on within. It is necessary that the architecture frame and accent this activity.
B. Secondary Principles
1. REPETITION.
Ex. When a number of rooms of equal size and shape occur side by side, or when windows, columns,
arches are spaced in a regular manner to give an unaccented rhythm.
2. ALTERARTION: Altering sizes, shapes and elements. This gives contrast.
3. TRANSITION
Ex. Small vestibules protect and act as buffers for the lobbies which follow and the lobbies in turn,
allows the visitors to become adjusted to the situation which confronts him upon entering the building. These
minor elements give the observer some preparatory indication of the general character and use of the interior
before introducing him to the more important units.
The Principles of Composition in Volume
Architecture is one of the creative arts and the same fundamental principles underlying the other
forms of artistic expression are also to be found therein. A synthesis of all the principles is necessary to insure
a unified and satisfactory composition. But for the sake of the study, it will be necessary to analyze separately
these qualities and their applications to architectural problems.
These principles are:
1. Contrast - association of unlike qualities- transition is one important rule in using principle of contrast
2. Proportion - harmonious relation of one part to another with respect to magnitude and quantity,
refers to size of human beings.
4. Scale - deals with the relation of architectural motifs such as windows, doors, moldings, to each other
and to the human figure.
5. Balance - means equality, satisfying to the eye with reference to the relative importance of the various
parts of design.
6. Rhythm - organized movement of line which carries the eye from one element to another. Organized
spacing b. Repetition c. Alternation
7. Unity - relating to all unrelated parts of an architectural arrangement in order to obtain a satisfactory
composition. Unity is lost when theres competition among motifs and theres duality or presence of
two strong conflicting elements.
8. Character - expressiveness
9. Emphasis - center of interest, dominant area that catches the eye or arrest attention which leads the
eye from the most important part of design to other subordinating areas in the order of their
importance.
Contrast
Contrast is one of the most important qualities or conditions of nature and man-made things with
which we have our physical perception of things.
We can hear because of the contrast between silence and sound. We can feel because of the contrast
between qualities of objects. We can identify anything because of its difference or contrast in shapes,
textures, colors of its surfaces.
It is only through the contrast that we know what is good and bad, what is beautiful and ugly. For if
everything are equal, them there would be no contrast at all, and life would be monotonous and
uninteresting.
Contrast, therefore, results from the dissimilarity or association of unlike qualities.
In architecture, contrast is produced by the association of unlike masses, areas and tones resulting in
variety of composition.
Contrast is also opposition by which one element is made to dominate clearly the other elements so
as to give interest or emphasis. However, although contrast is essential to the unified composition,

transition should always alleviate the burden impose by sudden changes in treatment. Contrast,
therefore, should not be abrupt and excessive.
There are several types of contrast:
1. Contrast of Form
a. with respect to shape
b. with respect to mass
2. Contrast of Line
a. with respect to direction
b. with respect to type
3. Contrast of Size if the change in size is gradual and uniform, it is called gradation
4. Contrast of Tone: This may be obtained by contrast of textures, openings, or planes, e.g., contrast
between dark roofs and light walls, between the darks of openings and the light of walls.
5. Contrast of Treatment: This is based upon handling of the various surfaces, or by the character of
the treatment of the different areas of the faade of a building, rustication of the lower part of a
wall in contrast to a more refined treatment of the upper areas.
6. Contrast of Texture whether rough or smooth
7. Contrast of Character, as involved in the design of a church and parish house.
c. Although the two parts must be similar in general feeling, the various architectural details
must express the different functions of each structure.
d. A combination of some of the various types of contrast makes an architectural composition
interesting, but excess of contrast will also create confusion.
Proportion
Proportion is largely a matter of relationships.
It refers to the pleasing relationships between parts of the design in relation to each other and the
whole.
It is evident by a comparison which the eye makes between the size and shape of the various parts.
Proportions may be defined as the harmonious relation of one part to another with respect to
magnitude and quantity.
Certain basic geometrical forms which have very definite proportions are circle, triangle, and square.
The eye identifies them quickly and for the reason they are dominant shapes in any composition. They
are usually used for accents or emphasis.
A rectangle should be definitely take the proportions of the shape. It should not approach a square in
its dimensions, because a state of doubt will exist in the mind of the observer as to its qualification.
The eye will be unable to decide whether it is a square or a rectangle. To avoid doubt, the proportion
of a rectangle is derived by the Golden Mean method. This method long regarded as satisfactory, is
a Classical way of constructing a rectangle by using a diagonal of a square, the side of which is equal
to the shorter side of the rectangle, as the longer side of the rectangle. This method, however is
applicable only when function will permit.
Proportions may be based on the following factors:
A. Material Proportions All materials have rational proportions that at dictated by their
inherent strengths and weaknesses. Example:
1. Masonry Units like bricks are strong in compression and depend on their mass for
strength and are therefore volumetric in form,
2. Steel are strong both in compression and tension, and can therefore be formed
into linear columns and beams and planar sheet material,
3. Wood flexible and fairly elastic, can be used as linear posts and beams, planar
boards, and as volumetric element in log cabin construction.
B. Structural Proportions Beams and columns form as skeletal structure framework that defines
modules of spaces. By their size and proportions, columns and beams articulate space, and
give it scale and a hierarchal structure. This can be seen in the way joists are supported by
beams and the beams by girders. Each element increases in depths as load increases in size.

C. Manufactured Proportions many architectural elements are sized and proportioned not only
according to their structural properties and function, but also by the process through which
they are manufactured. Because these elements are mass-produced in factories, they have
standard sizes and proportions imposed on them by the individual manufacturers. Hollow
blocks are standard in sizes of 4 x 8 x 16 or 6 x 8 x 16 and plywood is common in 4 x 8
so that the spacing of wood nailers are fitted into this size. Doors and windows are sized and
proportioned to fit into modular masonry openings.
Requirements of the Program, Function or Government Ordinances:
1. The proportion of the height of a room is controlled by local building ordinances, logic and artistic
sense;
2. Auditorium proportions are influenced by visual and acoustical considerations;
3. Proportions between heights and areas of rooms are controlled by the capacity and lighting
requirements of the room.
Traditions and Generally Accepted Taste:
1. At the exterior, the height of an edifice should be in proportion to the character that the edifice
demands;
2. Buildings of worship such as churches and temples usually have traditional proportions;
3. Classical buildings usually have proportions based upon traditional proportions based upon traditional
rules.
Distinctions between Relative and Absolute Proportion:
1. Relative Proportion deals with the relationship between the parts of the object and the whole. For
example, the ratio between the diameter of a classical column and its height or the relation of the
panels of the door and the whole door.
2. Absolute deals with the relationship between the different parts of an object or the whole to the
various parts.
Scale
Scale has reference to proportions which are based on the human figure and deals with the relation
of elements to each other and the human figure.
Architecture must be adapted to human needs. Thus, doors should be large enough to walk through
in comfort but not so gigantic they become difficult to handle or close; steps should be of such size as
to permit easy ascent or descent.
The give a sense of scale, the size of the human figure is ordinarily included in presentation of
structures.
Balance
Balance is equality. Proper balance in composition satisfied the eye with reference to the relative
importance of the various parts of the design. The types of balance are:
a. Symmetrical Balance
i. Pure or Absolute Symmetry. This is the simplest and easiest kind of balance, in which the
elements are so arranged in precisely the same manner on either side of s central axis or
line. Not only is the arrangement similar but each object is exactly the one occupying the
corresponding position on the opposite side. In this kind of balance, the eye catches at a
glance the quality of attraction on each side of the center of the composition. All elements
are duplicated shape for shape, size for size, tone for tone. This type of balance is
straightforward and direct and gives a feeling of order and repose.
ii. Formal Balance. This is a type of symmetrical balance, but one which lacks some of the
essentials of this kind of composition. The general mass and grouping of parts may be similar
but there are dissimilarities in plan, elevation and details.

b. Unsymmetrical Balance
This is occult balance, obtained by the grouping, in an informal manner, of elements of
varying sizes and shapes. In this type, one senses rather than sees, a state of equilibrium. It
is more subtle and elusive and is more difficult to Attain than formal balance.
In an informal arrangement, the larger and heavier masses should be nearer the center of
the grouping, while the lighter and lower and more horizontal elements may constitute the
long arm as in a steelyard. Vertical units may be introduced near the center interest, or what
may be considered as the fulcrum of the composition, in order to create the desired accents.
Unsymmetrical balance is desirable in a building where a feeling of informality assists in
expressing the proper character. Symmetrical balance on the other hand, is used when it is
desired to give a feeling of informality or monumentality.
Rhythm
Rhythm is organized movement. In architecture, it is the organized movement of line which carries
the eye from one element to another.
Rhythm, which is the foundation of music, is based on movement which must be organized in some
kind of tempo or spacing. This tempo may be fast or slow, or it may be regular or irregular.
There is the same kind of movement in architecture. There is the movement of the theme which the
eye perceives as it travels across the faade of the building, pausing here to look at this detail and then
going on to the next. An unbroken repetition is present and we have unaccented regular rhythm.
If the openings or details are arranged in such a manner that some elements are more important than
others, then the eye grasps the significance of this relationship and pauses longer in contemplating
the larger elements. This brings about an accented movement, a skipping along quickly over the minor
divisions and a rest on the major motifs, so that the movement is spaced.
Rhythm must be directed and controlled for without organization there is not rhythm. If unrelated
sounds occur, there is no organization, hence there is no rhythm and the result would be mere noise.
Similarly, if windows and doors area thrown into the faade of a building in a haphazard manner, there
would be no scheme or sense to the arrangement and there would be no rhythm.
Unity
Unity is the culmination of all the elements of design. It suggests harmony. It seems that all the
unrelated parts of an architectural arrangement are brought into proper relation to each other so that
a satisfactory composition is obtained. All the minor parts must be made to assist the major elements
in the roles which they are to play in the development of a structure.
Unity may be easily seen in the simple geometric forms, such as the circle, square and triangle. They
are elementary in their shapes and no portion of the whole tends to detach itself and to create new
form. Elementary geometric forms are compact and direct; they tell a single story in the briefest
possible manner and which can be grasped readily by the viewer.
The simplest kind of unity is similarity of motifs or members. On the other hand, the highest type of
unity is secured if there exists no doubt as to the presence of the central motif. In a dramatic
production there must be a plot which dominates all the minor situations in the story. Similarly, in an
architectural composition there must be a center of interest which will draw the attention of the
observer to this focal point.
The major masses of the building should dominate the less important parts, but all the parts together
should form a compact and coherent ensemble. Thus the element of emphasis is necessary in an
architectural composition. It may be secured by the size, position or treatment of the motif which is
to give the desired importance to that particular part of the building. Variation also gives accent.
Emphasis or accent, therefore, serves to make a motif conspicuous.
Unity is lost when:
o The elements compete with each other for the place of importance;
o There is duality or the presence of two strong conflicting elements.

Competition is therefore the worst foe of unity. Dissimilarity leads to confusion. Confusion exists when
there is a lack of similarity between the various elements employed, where there is unorganized
competition and too much contrast. Similarity remedies confusion but when the similarity becomes
excessive there results also monotony which can only be remedied by the introduction of accents.
Character
Character is the external manifestation or expression of internal qualities. It grows out of the function
of the building and the consideration of all the creative principles of composition.
Like persons, buildings have points of similarity (walls, doors, roofs, etc.) but again, they are alike in
the purpose they serve and the appearance which are influenced by their individual characteristics.
The quality may be called personality. In architecture, the character of the building is the external
expression of its internal function.
There are three types of character in architecture which arises from:
a. Function or use of the building. This type of character is the most important and results from the
purpose of the building or the reason for which it is erected. The use of a structure naturally calls
for a particular disposition of parts, and this arrangement affects the appearance of the exterior
by which we largely judge its character. Thus, a museum must have galleries with ample wall
spaces for the hanging of pictures on top lighting. This eliminates windows and necessitates the
use of skylights. On the other hand, a school building would require many windows to admit
necessary side light. A factory expresses the efficient operation of the manufacturing process
within, while a house reflects the informal intimacy of home life. The external expression of these
various internal functions gives a building its character. The appearance of a structure is,
therefore, an outgrowth of the plan which, in turn, is determined by the use of the building.
b. Association or the influence of traditional types. Associated character comes from the influence of
ideas and impressions related to or growing out of past experiences. We know by association and
experience the characteristics of our friends; similarly, we have come to recognize certain
buildings by features which have long been associated with that type of structure. Thus a spire
atop a building with stained glass windows tells us that the edifice is a church. Certain traditional
forms have long been associated with specific types of buildings. The use of Classical Orders have
often indicated the presence of a bank, while Gothic, at least in the U.S. has always been
associated with educational institutions. The contemporary movement of architecture has
however, caused many revisions in our association of ideas. It has been necessary to adjust our
point of view to the many influences which are now changing the character of the modern
buildings.
- END OF THEORIES OF ARCHITECTURE 01


THEORIES OF ARCHITECTURE 02 (TOA 123)

Module source: Arch. Godesil G. Lejarde, uap
BASIC PRINCIPLES OF DESIGN
DESIGN
Activity of generating proposals that change something that already exists into something that is
better; it includes the most purposeful changes to the physical environment;
The main goal of design is to organize the environment; without organization, the environment will
be chaotic.
Design can be viewed as a three-part process (design components):
a. Initial state; A method or process of transformation; and an imagined future state
i.
Functions of the architectural designer:
To identify problems (programming)
To identify methods for achieving solutions (generating alternative building design)
To implement solutions (implementing plans)
All environments are designed: in a sense that they embody human decisions and choices and
specific way of doing things.
Design happens whenever activities change the face of the earth and create built environments.
o All environments result from choices made from among all possible alternatives. The
specific choices tend to be lawful, reflecting the culture of the people concerned.
o One way of looking at culture is in terms of the most common choices made.
o The lawfulness of decisions makes places and buildings recognizably different from one
another; lawfulness also leads to a specific way of dressing, behaving, eating and so on.
It affects the way people interact, the way they structure space and time.
Architecture is a result primarily of sociocultural factors; design is defined to include the most
purposeful changes to the physical environment then, architecture is any construction that deliberately
changes the physical environment according to some ordering schemata.
Two types of environment: Natural environment and built environment.
Why do people build environments?
a. To understand why people build environments, how the human mind work must first be understood.
b. Schemata represent one product of what seems a basic process of the human mind, to give the world
meaning, to humanize it by imposing order on it a cognitive order often achieved through classifying
and naming, or differentiating.
c. The world is chaotic and disorderly; the human mind classifies, differentiates and orders.
d. Order is thought before it is built; people think environments before they build them.
e. Thought orders space, time, activity, status, roles, and behavior.
f. Examples of this ordering activity are settlements, buildings, and landscapes.
g. Built environments are one way of ordering the world by making ordering systems visible.
General Categories by which Concerns and Issues may be addressed in Architectural Design:
1. Functional Zoning the need for adjacency
2. Architectural Space a concretization of mans existential space
a. Space is the most influential aspect of design problem solving.
b. The designer must know what activities, conditions, and people he is planning for.
3. Circulation and Building Form circulation may be conceived as the perceptual thread that links
the spaces of a building or any series of interior or exterior spaces together. Building forms are
conceived as structures.

4. Response to Context depending on the environment and the meaning of the structure in that
environment.
5. Building Envelope the imaginary shape of a building indicating its maximum volume.
a. Used to check the plan and setback with respect to zoning regulations.
b. Creativity, which is the process of generating new ideas, is an essential tool in design.
Three Essential Elements in Developing Creativity
1. Ideation the mental process which gives the ability to think or ideate.
2. Idea Quantity the capacity to produce the largest number of ideas per unit of time.
3. Imageneering the process of letting imagination soar and then engineering it back to reality.
Stages in Designing:
1. Design Analysis: The stage in which we identify the PROBLEM in order to come up with the ideas to
solve it. Creativity needs a positive attitude. Ideas should not be dismissed too quickly. They should
first be articulated, added on or discussed with another person or group so that they can be further
developed.
2. Tentative Solutions:
Creative Problem-Solving Techniques
a. Alphabetical Listing begins with all letters of the alphabet. Then for each letter, list a word or
phrase that begins with that letter and pertains to the problem you are attempting to solve or a
potential solution to it.
b. Functional Visualization thinking about what function the object will perform instead of thinking
how it will look like.
c. Morphological Synthesis making a list in a more direct manner to seek alternatives.
d. Inversion instead of thinking of how to improve the situation, think of how to make it worse so
that you are given a new set of perspective or concepts.
e. Bionics back-to-nature solutions
f. Description By Association offering a description of the object by associating it with something
else.
g. Brainstorming a group process in which several people, for a given amount of time, gathers
together and discusses a particular problem, and everyone contributes positive thoughts to the
discussion.
3. Criticism:
Design may be criticized by others who want to apply further objectives or prioritize other aspects
of the problem. During this stage, the problem may change and the information and objectives
may increase.
The important things that a designer should remember during this stage are:
Have faith and confidence in yourself. Speak out. Seek constructive criticism.
Be tenacious. Stick with your efforts and word toward your goal with conviction.
Play down your mistakes but do not deny them. Evaluate the situation and what went wrong then
come up with ideas on how to improve things.
Recognize the value of criticism.
Be constructive when you give it to elicit a better response from the one receiving it.
4. Operational Process:
a. Conceptual Design sketches which make up a statement to intent for the guidance of structural
and service engineering consultants and for information of suppliers and manufacturers who will
be involved in the work.
b. Operational Design detailed working drawings and specifications which may be constantly
modified during the process but always within the framework of the basic concept.

Architecture happens within a broad social, environmental, behavioral, and economic context
such that design and the design process should response to the same context.
c. Five-Step Design Process
i.
INTIATION Involves the recognition and definition of the problem to be solved.
ii.
PREPARATION The systematic collection and analysis of information about the problem to
be solved.
The activity is called programming and the product is a building program.
Generally includes a written report summarizing the needs of a project and can include
extensive analysis that identifies the important issues to be solved.
Also include activities like gathering of based maps, site data surrounding environment,
traffic utilities, legal constraints, economic and financial data.
Information Gathering can be done through researching information and details related
to the problem through review of literature, direct observation, interview/checklist,
secondary information.
Problem Statement identification and presentation of the problem based on data
gathered.
Analysis of the Problem coming up with ways to approach the problem; factors that
affect the formulation of preliminary solutions.
4. Proposal Making Or Synthesis:
Physical demonstrations of the integration of very large number of issues.
Involves exploring the potentials of different physical arrangement and forms.
Drawings and notes form a tool for successive explorations and iterations that converge on a
solution.
Also regarded as the conceptualization stage through graphic solutions, matrices and diagrams.
Translation refers to the preparation of sketches, drawings and models.
5. Evaluation:
Evaluation of alternative proposals by the designer.
Comparing proposed design solutions with the goals and criteria evolved in the programming
stage.
6. Action:
In design process that includes activities associated with preparations and implementation of a
project.
Preparation of construction documents (working drawings and written specifications for the
building)
Planning Basics:
1. Plan Composition Scheme
Logical planning should not be done in an aimless way. There must be a reason or a scheme behind
it.
a. Exterior with symmetry or monumentality = plan balanced about a central axis.
b. Informal massing = more free flowing
Regardless of the complexity of plans, they may be reduced to simple geometrical shapes (circle,
squares, etc.)
2. Axial Arrangements
Axis is determined by the relative importance of the sides which bound the plan.
a. Major Axis Carried through the mass as one enters the building; perpendicular to the main
elevation and to the directional quality of the area location of entrance is more important
than shape.
i.
TRANSVERSE MAJOR AXIS cuts through the shorter direction

ii.
LONGITUDINAL MAJOR AXIS cuts through the longer direction
b. Principal Minor Axis extends at right angle from the major axis; parallel to the main
elevation.
In complex plans, the parts may group around several minor axes which show the direction of
units.
Principles
Organic Plans all parts must fit together in such a way that the composition will be disturbed if one
element is moved.
Emphasis created by contrast in size, shape, character, etc.
o Emphasized activity = emphasized area in the plan
o (ex. Elements imparting rhythm and point to a monument in the center)
Secondary Principles
1. Repetition when a number of room, window, arches, etc. of equal size and shape occur side by side
to create unaccented rhythm.
3. Alteration alternating varying sizes or contrasting shapes.
4. Transition a satisfactory progression from one unit to another such as vestibules lobbies; gives
preparatory indication of the character and use of the interior.
5. Transformation a prototypical architectural model whose formal structure and ordering structure
and ordering are appropriate is transformed through a series of discreet manipulations to respond to
specific conditions and context.
Requires that the principle of the prototypical model is understood so that the design concept is
maintained even after permutation.
Formal Collisions of Geometry:
Situation: Two forms with different orientation and geometry collide and penetrate each others
boundaries (also: border, limitation, edges, etc.)
Resultant forms:
o Two forms can be subvert their individual identities and merge to create a new composite
form.
o One of the forms can receive the other totally within its volume.
o The two forms can retain their individual identities and share the interlocking portion of their
volumes.
o The two forms can separate and be linked by a third element that recalls the geometry of one
of the original forms.
The Articulation of Forms:
Articulation refers to the manner by which the surfaces of a form come together to define its shape
and volume.
An articulated form clearly reveals the edges of its surfaces and the corners at which they meet. Its
surfaces appear as planes with distinct shape; their configuration is legible and easily perceived.
Ways by which forms and its surface planes may be articulated
a. Edges
b. Corners
c. Surfaces
How Corners Define the Meeting of two Planes
a. By introducing another element
b. By introducing an opening
c. By cutting planes that define the corner
d. By rounding off the corners

ARCHITECTURAL THEORIES AND THEORISTS
Architectural Theory is the act of thinking, discussing or most importantly writing about architecture.
Division of research and theory based on the principal target of the study
1. Descriptive studies
2. Explanatory studies
3. Normative studies
Classification of theories which have been applied in history
1. Thematic or analytic theories are treatises which aim at the fulfillment of one principal goal of
architecture.
2. Theories of architectural synthesis are examples of theories which aim at fulfilling simultaneously
several goals that are known.
CLASSICAL THEORIES: There is little information or evidence about major architectural theory in antiquity,
until the first century BC, with the work of Vitruvius.
Marcus Vitruvius Pollio: the most prominent architectural theorist in the Roman Empire known today, having
written De architectura libridecem (The Ten Books of Architecture).
MEDIEVAL THEORIES: Most documents dealt with monastery institutions and transcriptions of the bible;
architectural knowledge was passed by transcription, word of mouth and technically in master builders lodges
RENAISSANCE THEORIES:
1418: A copy of the works of Vitruvius were found among the manuscripts of the monastery of St. Gallen.
Architectural theorist in the period include the following:
1. Leon Battista Alberti the first great work of architectural theory of this period was Albertis De Re
Aedificatoria, which placed Vitruvius at the core of the most profound theoretical tradition of the
modern ages. In 1485, it became the first printed book of architecture.
2. Glacomo (Japoco) Barozzi da Vignola his two published books helped formulate the canons of
classical style: Regole del licinque ordini d architettura- rules of the five orders of architecture, and
the posthumously published Due regole del la prospettiva practica- two rules of practical perspective
which favor one point perspective rather than two point methods.
3. Andrea Palladio Palladios I Quattro Libridell Architettura(The Four books of architecture) is an
Italian tratise on architecture (1508-1580)
ARCHITECTURAL PERCEPTION
Perception
The process by which we organize and interpret the patterns of stimuli in the environment (via
senses)
The intuitive recognition of an aesthetic quality
What makes a building more compelling to our consciousness?
Principles of Perception
1. Strength Or Intensity whether one object will force itself into our consciousness than another.
2. Movement a moving object is more compelling than a stationary object
3. Size a large building is more compelling than small one
4. Repetition an object may attract attention by being constantly and regularly repeated.
5. Visual Acuity Sharpness of vision; the visual ability to resolve fine details
Two Types of Vision:
a. Steroescopic Vision- is vision that involves perception of distance and depth as well as the height
and width of the object.
b. Kinesthetic Vision- the perception of body position and movements, muscular tension, etc.
Stereoacuity - Is the cumulative result of all dimensional depth cues.

6. Visual Or Optical Illusion The observers perception is influenced by the illusion the parts create in
the whole pattern.
7. Filled And Empty Distance - A depth filled with details appears to be greater than one of the same
physical distance which is empty.
8. Proximity
Lines that appear to be in pairs lead us to see three pairs and an extra at the line at the right.
The same lines but with extensions lead us to see the opposite pairing: three broken squares and
an extra line at the left.
9. Contradictory Depth Factors Height location may lead to the perception that the higher figure may
be farther away.
10. Visual Depth Despite the fact that the observer sees and knows in reality and feels with his feet
that the floor is composed of plain mosaic stones, it is impossible to avoid the perception of depth.
11. Illusion Of Depth The illusion in transformation of what is real and is believed to be real has been a
standard technique since the renaissance.
Monacular Cues to Depth Artists are able to give depth to a picture because they can make use of
many monocular cues that tell us the distance of the objects.
Four Types of Cues Used In Depth Perception
a. Superposition
b. Apparent magnitude and relative size
c. Height in place
d. Texture
12. Context The hypothesis tested and the precepts formed depend not only on the features of the
objects but also the context in which they are viewed.
ARCHITECTURAL CONCERNS
Categories of Architectural Concerns
1. Function activity, grouping, and zoning
2. Space volume required by activities
3. Geometry circulation, form and image
4. Context site and climate
5. Enclosure structure enclosing planes and openings
6. Systems plumbing and sanitary, mechanical, electrical, etc.
7. Economic - initial cost, maintenance cost, etc.
8. Human factors - perception of human behavior
Functional Grouping and Zoning
Horizontal Disposition arrangement of the various units of the plan in a horizontal manner in order
to secure a workable relationship between the different areas
The Principles Related to Function
1. Adjacency
2. Relatedness of departments, goals and systems
3. Sequence in time
4. Required environments
5. Effect produce
6. Relative proximity to buildings
7. Relatedness to core activities
8. Characteristics of people involved
9. Volume of people involved
10. Extent of involvement of man and machine

Space is one of the most influential aspects of the analysis stage in solving a design problem
The System of Spaces Most of mans actions comprise of a spatial aspect.
Expressive Or Artistic Space created by man to express the structure of his world.
Aesthetic Space concept which systematized the spaces possible properties.
The Concept of Space in Architectural Theory
Two (2) divisions of architectural space:
1. Based on Euclidean space stimulated by the importance of Euclidean geometry.
2. Based on perception psychology buffer zones, space bubbles
Physical Space at the most basic level, answers the users physical needs. It easy to design because every
component is measurable based on certain standards, and does not consider the social and psychological at
needs of the users.
Space may also be shaped by the users sensory perception:
Olfactory
Hearing
Sight
The principles of space organization are concerned with;
The use of space
The collaboration of materials
The contributions of aesthetics
Space-to-Space Relationships:
1. Space within a space consists of larger space enveloping a smaller space within its volume.
2. Interlocking spaces consist of two spaces whose fields overlap to form a zone of shared space.
3. Adjacent spaces consist of two spaces that are clearly defined and responsive to functional or
symbolic requirements in their own way
4. Spaces linked by common space consist of two spaces that are separated by distance and a third
intermediate space that interlocks them and defines their relationship.
Five Ways to Arrange and Organize Space
1. Centralized consists of a central dominant space around which a number of secondary spaces are
grouped.
2. Linear consists of a linear sequence of repetitive spaces that are generally alike in size, form and
function.
3. Radial consists of a central space from which linear organizations extend in a radial manner.
4. Clustered consists of repetitive cellular spaces grouped by proximity or by the sharing of a common
trait or relationship.
5. Grid consists of spaces whose positions in space and relationships with one another are regulated
by a three dimensional grid pattern or field.
Space Articulation is often used in architecture to define a zone of space within a larger spatial context.
ARCHITECTURAL ELEMENTS
Circulation Elements:
1. Building approach building entrances are usually approached along a path, making it the first phase
of the circulation system.
a. Frontal
c. Oblique
d. Spiral

2. The building entrance the building entrance distinguishes the passage from one space to another
(outside to inside)
3. Configuration of the path
a. Pedestrian path- can accommodate sharper turns but require a greater volume of space than the
bodily dimensions of the users.
b. Vehicular paths- can be tailored tightly to the width of the vehicles but requires less abrupt
changes in pace and direction.
4. Path space relationships
a. Pass by space- maintains the integrity of earth space; flexible configuration; may be connected to
mediating paths.
b. Pass through spaces- axially, obliquely or along its edge; creates patterns of movement or rest
within the space.
c. Terminate in a space- used to approach and enter functionally and symbolically important spaces.
5. Form of circulation space corridors, balconies, galleries, stairs and rooms are circulation space that
form an integral part of the building organization and occupy a significant amount of space within the
buildings volume.
Architectural Elements:
1. Solar shading in summer: Shading by structural elements (overhangs, walls, baffles, etc.) is designed
to intercept the suns rays at the building exterior; affects the faade of the building.
Powered louvers to diminish heat gain exterior, power-operated sun louvers that automatically
turn to exclude the suns rays as it relative position changes throughout the day.
2. Evaporative cooling: as water evaporates heat is drawn from the air, reducing the waters
temperature.
3. Building configuration: buildings should be constructed with minimum exposed surface area except
when the skin facilitates heat dissipation.
BUILDING ENCLOSURE AND BUILDING ENVELOPE
Properties of enclosure
1. Dimension (properties, scale)
2. Shape (definition)
3. Configuration (form)
4. Surface (color, texture, pattern)
5. Edges
6. Openings (enclosure, light, view)
Openings in Space
1. Degree of enclosure determined by the configuration and the pattern of the openings, has a
significant impact on our perception of the orientation and overall form of the space.
2. Light natural light coming from windows illuminates the spaces surfaces and forms enlivens its
colors and influences its mood.
3. View windows and skylights provide view and establish a visual relationship between the room and
its surroundings.
4. Openings within planes
The Building Envelope - The building envelope may be regarded as more than a two dimensional space. It is a
transition space where people inside can have a preview of what is outside or vice versa.

Basic Components of the Envelope:
1. Filter a means to make the connection indirect (screens, walls); selects outside condition that will
be allowed into the building (40); sometimes may be in the position of a switch.
2. Connector a means to make a connection (doorways, openings); characteristics of architecture in
mild climates
3. Switch regulating connector (operable doors and windows)
4. Barrier separating element (roof, wall); completely severs the relationship between the indoor and
the outdoor; characteristic of architecture in harsh climates
Two Different Concepts of Envelope Design
1. The closed shell establishes limited contacts with the outdoors; usually found in harsh climates.
2. The open frame begins as a structural frame with the building skin selectively added to modify only
a few outside forces; usually found in hot, humid climate.
- END OF THEORIES OF ARCHITECTURE 02


ARCHITECTURAL INTERIORS (TOA 313)

Module source: Arch. Claudette dela Rosa, uap
FILIPINO BUILDING TRADITIONS AND BELIEFS
Filipino Traditions regarding Land and Space
Public Spaces
The Filipino concept of space is very different from Western ideas. We often express distance
subjectively, using the words, malayo (far) or malapit 9near) instead of numerical measurements. This
suggests vague boundaries and limits of space.
Traditional Filipino cultures share land communally instead of having private properties
bounded by fences and gates. This suggests that everyone in the village could share in whatever
resources are available from the land. The responsibility for maintaining the areas which are
designated as communal properties (shorelines, riverbanks, etc.) rests on all the residents of the area.
Even in contemporary Filipino communities where the boundaries of private lots are clearer,
parties, businesses and other activities still spill over to the public areas like the sidewalks or even the
streets.
The Spanish colonial policy of settlement created the plaza complex. The plaza is the
community center surrounded with the imposing structures of the church, the friars convent, the
municipal hall, and the bahay na bato of the ruling elite. Although some of the structures around the
plaza have been converted to commercial uses, its function as a gathering and meeting place for the
community remains.
Private Spaces
The spaces inside the house serve a number of purposes-transforming and adapting according
to the needs of the users at any particular time. This is observable from the bahay kubo to the bahay
na bato, and even in modern houses - from squatters shanties to condominium units.
The traditional Filipino space is always transparent. The native cultural idea of living with a
group-whether a village or a family-encourages visible spaces where one can see everyone else. This
also allows for the open planning requirements of living in a tropical climate keeps the house related
with the natural environment. However, it is also means limited privacy.
Traditional ethnic houses express the indigenous way of spatial organization. Territorial
spaces are suggested by symbols, never stated with the fences or walls but territorially is still
respected by passersby and other residents in the area. Within the house, even the absence of walls
or partitions, the use of different levels, mats or fireplace in the corner can distinguish one section
from another.
Filipino Traditions regarding the Construction of Houses
Ethnic Filipino Building Traditions
Ethnic houses reflect the wisdom of skilled artisans who intuitively blend aesthetics and utility
into a harmonious whole.
Decoration, while done sparingly often combines aesthetics and socio-political factors.
The design and construction of houses are affected by animistic beliefs and assumptions.
These govern the choice of site and season for building rituals to be observed before and during
construction, the orientation of the house and the distribution of interior spaces.
Houses may be used essentially as shelter or may double as a social and cultural center.
Building Traditions during the Spanish Period
New structures were built during the Spanish period reflecting the major preoccupations and
values of the Spanish colonial life.
Houses signified the wealth and social rank of the owner.

The bahay kubo retained the features of the traditional house with the addition of awning
windows, the silid where the occupants could change clothes in private, the altar, and the other
furniture and furnishings required by the new hispanized manners.
The bahay na bato retained the usual post and lintel constructions of the bahay kubo with
some innovations:
a. A highly flexible interiors where rooms may be joined or separated by opening or closing wide
doors;
b. The addition of an azotea, at the back of the house, the caida or antesala at the top of the
stairs.
c. Details such as the media agua, the ventanllas and the tiled roof which gave the bahay na bato
an elegant appearance without losing the airy and light qualities of the bahay kubo.
Building Traditions during the American Period
Chalet indigenous concepts persisted and were embodied by the chalet or tsalet. The most
prominent feature is the front porch which may be extended on both sides of the house. This is an
expression of the unique Filipino concept of space surrounding space.
Bungalow this house brought the American concept of privacy which encouraged family
members to have his/her own room thus introducing hallways and corridors- spaces that exist solely
as distribution points.
Filipino Building Beliefs
Many Filipino building beliefs are based on the sound planning practices. For instance, many Filipino
prefer that their houses face the east. Facing the house towards the rising sun allows it to take in the healthful
effects of the suns rays in the morning and at the same time, admits the prevailing southeast breezes.
Posts
In southern Tagalog, posts nearest the east are laid first. The other posts follow, one after the other
in a clockwise direction. In Romblon, this practice is believed to make house windproof.
In Cagayan Valley, first post to be raised is the one nearest the northeast. But this is done only after
the footings have been sprinkled with wine.
In Bataan and some Tagalog provinces, a solitary post in the middle of the room is believed to bring
misfortune to the family.
The Tausug equates the building of a house to the development of a fetus. They believe that the first
to appear in a womans womb is the navel. Hence, the first post to be erected should be the main post
in the interior of the house.
The Yakans do not use crooked posts and those with knots as these are believed to symbolize death.
To prevent termite infestation, the bottom of the post are charred (Pangasinan) or tarred. In some
areas, rock salt is sprinkled generously in all footings.
Old people also caution against cutting old posts for reuse so as not lose ones wealth.
Stairs
Stairs are generally positioned towards the east. The Ilocanos believe that facing them towards the
west would mean turning ones back on face. On the other hand, some builders in Bulacan prefer
west-facing stairs, believing that anything facing the sun dries up ahead of the others and so, wealth
taken into the house will dry up much faster.
If it is not possible to make the stairs be oriented upstream so that luck will not be washed away the
rivers flow. For the same reason, if the house is facing the sea, the stairs should be placed parallel to
the shore. It is not advisable to have a large window on the wall facing the stairs because good fortune
will go out of the window. The space beneath the stairs should not be used as a passageway or sleeping
quarters (Tagalog) or a place where money is kept (eg. cahiers counter). Placing the rice storage under
the stairs is equal to treading Gods grace whenever one goes up or down the stairs. Stairs should not
be located at the center of the structures as this divides the area. The number of steps is governed

with the guidelines of oro, plata, mata. Starting with the first step, the steps are counted using the
words oro (gold), plata (silver), and mata (death). The last step should not end with mata.
This belief is not limited to stairs. It also applies to walkways with individual flagstones or circular or
square slabs, or even to a slab of concrete pavement divided into sections by drawn lines.
The Yakan believe in odd numbering of steps. The Chinese count their steps by fours.
Doors
Ones main door should not directly face that of the neighbors to avoid fighting over the luck that
passes in front of both houses.
In most areas of the country, the main door is never positioned opposite the main gate.
Doors should not face each other. The people in the North believe that doors facing each other allow
easy passage of a coffin. In some areas in Bulacan, however, wide doors facing each other are
considered lucky, especially if they lead to the terrace or garden.
Living Rooms
Sunken rooms are regarded as pockets of caves where evil spirits can hide. It is balnced off with an
exit that is lower than the room. Old folks in Bulacan advise that the living and dining rooms should
be of the same floor level to allow the ball of fortune to roll freely across both areas. Any
ornamentation or style (eg. Mansard roof) that might remind one of a coffin is avoided in living areas.
Dining Rooms
Pampangos locate their dining room in the sunniest and brightest portion of the house as they
consider cooking and eating as festive activities. The Ilocanos, on the other hand, regard eating as a
solemn occasion and so, place the dining rooms in areas where the lightning is more subdued.
Beds and Bedrooms
Beds should be placed so that when the door is opened, one would not face either the head or the
foot of the bed.
There should be ample space between the door and the bed.
The headboard should not rest against the window opening.
Beds should not be placed under drain pipes (for houses with second floor). Likewise, they should not
be placed over pipes containing unclean fluid as this would mean that the bad energies may affect the
good energy of the people sleeping over the pipes.
Beds should not be placed under beams. Never position the bed so that the occupant would be lying
perpendicular to the beam.
It is considered lucky if the bedroom is placed higher than the living room. Basements are not favored
locations for bedrooms.
THE EFFECT OF ARCHITECTURAL DESIGN ON SPECIFIC BEHAVIORS
Distance
Physical Distance measured linear distance traversed in walking between two points
Functional Distance includes the variables of design and relative position as they affect the number
of involuntary, casual contacts between people
Increased functional distance may be associated with reduced social interaction. Indirect orientation of
access points also lessens interaction among their users. Close physical and functional distance is conducive
to the formation of friendships and prevent social isolation.
Design and Spatial Arrangement
Sociofugal Environments discourage social contacts and the formation of friendships. Examples
include train stations, hotel lobbies.

Sociopetal Environments encourage social contacts and the development of friendships. Examples
include seminar rooms, centrally located meeting and recreation areas.
The spatial arrangement in interior spaces may be determined by the placement of walls or partitions, the
arrangement of furniture and the overall design of the building itself.
Restrictions in visual and auditory contacts are associated with decreased social interaction with persons
physically located farther away.
Amenities
Amenities are aspects of the environment that are much more suitable than distance or spatial layout.
Pleasant environments could uplift peoples moods and make them more efficient in their jobs and
more open to interpersonal interactions.
An environment that is incongruent with certain behavior will render less likely the occurrence of that
behavior.
Motivating Factors that are Affected by the Environment
1. Friendship Formation:
Friendships are formed on the basis of shared interests and backgrounds. The friendships that are
formed are largely affected by opportunity. Therefore, contacts in an indispensible part of the
process.
In understanding the effect of closeness on social contact, it is necessary to recognize that it is
functional rather than physical distance that makes the difference. Physical closeness is important,
but where people meet is determined by the configuration of buildings and their grounds and the
location of communal spaces.
Designers create the conditions that determine which path people will follow and, as a
consequence, where they will meet. Spaces may tend to:
a. disperse people in a centrifugal fashion that minimizes contact; or
b. bring people together in a centrifugal fashion that increases contact.
2. Group Membership
Being or not being a part of a definite social group is one way people define themselves and is
thus a matter of importance to most people.
There is an evident tendency to affiliate with small groups where communications are easier and
more accurate. This suggests that seating arrangements in public gathering places should be
designed with small (2-3 individuals) in mind.
If a designer can reasonably assume where people intersect or be drawn together by necessity, it
can be assumed that groups will form at these points and should probably be provided with
seating and other conveniences.
The human tendency to form groups suggests the need for places where groups can form (e.g.,
lounges, lobbies, recreation rooms)
3. Personal Space
The strong feelings people have about controlling access to their persons manifests in the spacing or
separation that people maintain when dealing with other people.
Anthropologist Edward T. Hall described a series of distances:
a. Intimate distance ranges from actual contact to a distance of 18; reserved for lovers, small
children or very close friends.
b. Personal distance ranges from 1.5 to 4 feet (arms length); protected area where strangers
would not be welcome.
c. Social distance ranges from 4 to 12 feet; or the range of public interactions
d. Public distance ranges from 12 to 25 feet; or the range where noninvolvement begins. If
designers want to make this option available, they have to provide entrances and walkways

over 12 feet wide. The farther public distance is the distance preserved around important
public figures.
4. Personal Status
People use different techniques to establish their own self-definitions, and for defining
themselves to others. They seek an architectural expression that reflects their self-image. It is a
widely accepted practice to denote rank or status by the characteristics of ones workplace. In
dealing with personal status, it is important to allocate floor space and other amenities not just
for an attractive functional work space/s but also for allocating personal status.
5. Territoriality
The territorial feelings of humans merge with other feelings about persona space and concern for
personal status. Territorial feelings may relate to individual or group belongings, or to assume
rights and privileges. Territoriality can be divided into these categories:
a. Personal Property and Possessions
b. Group Property and Possessions
c. Temporary Territory
In dealing with the different manifestations of territoriality, designers can reduce territorial
friction or attempt to encourage feelings of ownership.
a. Person to Person territorial friction arising over personal belongings; can be minimized by
marking personal possessions clearly and eliminating the possible causes of friction
b. Boundaries disputes over territorial boundaries can often be traces to ambiguity of
boundary lines; can be minimized by:
making boundaries clear and self-evident
indicating clearly what is shared and what is private
b. Group Territory the feeling of sharing ownership through membership in a group; makes
it possible to mobilize a group to defend or improve its shared territory
c. No ones territory places for which no one or no group develops territorial feelings and are
subject to misuse and abuse; sometimes results from the assumption of territorial rights by
some agency or authority other than the users.
Recommendations about territorial considerations
a. Individual possessions. Mark them in distinctive way or give them individual names. Whether
the possessions are concrete objects or just assigned space in an office, dormitory, or locker
room, a designer should clearly define the boundaries.
b. Group territory. Establish clear boundaries and a clear identity. This is essential for the
development of specific group territorial feelings. This is not difficult in small projects but it
becomes very difficult, if not impossible, in large projects.
d. Transient territory. It is helpful if objects claimed as transient territories can be designed and
arranged so that the area assigned to each individual is clearly delimited (dividers between
urinals, individual seats in bus terminals, etc.)
e. Territorial Responsibilities. To ensure that a sense of territorial responsibility develops among
users in those projects that actually belongs to someone else, the designer should make an
effort to include the users in the planning process to create a bond between them and the
project.
6. Communications
Architects and planners can create places where communication occurs. They are involved with
communications at three levels:
a. They must provide the appropriate ambience that fosters effective personal communication
b. They must provide the appropriate information, principally through signs so that people will
know how to use the facilities they are entering.
c. They must provide, principally through external design characteristics, accurate information
about the nature of the structure and the organizations it houses.

Personal communications. To facilitate communications between people, designers must
recognize that conversations take place wherever people meet. These considerations may be used
as a set of guidelines:
a. In heavy traffic areas, provide a place where people may stand out of the line of traffic
b. Provide seating wherever it appears that chance meetings and conversations may occur with
some irregularity
c. Seating should be flexible so that people can adjust it so suit their own preferences
d. If seating is not flexible, it should be arranged so that people can sit at approximately a 90degree angle relative to each other.
f. Lighting should be arranged to illuminate the faces of people who are conversing so that facial
expressions can be clearly read.
g. The color of the light should be appropriate such that peoples flesh tones are rendered
correctly.
h. Minimize of exclude outside noises that might interfere with conversation.
i. Provide an acoustical setting that is free of reverberation and distortion so that speech can be
heard and understood clearly.
Communicating with design. The design characteristics of a building are capable of communicating
any message. People evaluate buildings as a means of satisfying their needs of the moment. Users
may be divided into two groups with distinct responses.
a. People who know the building response is largely a result of how well they feel the building
their purposes.
b. People who are not familiar with the building response is related to the interests and needs
more than to the nature of the building. From the viewpoint of a new viewer, there are
questions that a building design should answer to determine whether the building satisfy
current needs or interests.
i.
What is it?
ii.
What benefit does it offer me?
iii.
How do I get it?
iv.
What is inside?
v.
How will I be received?
7.
Cue Searching
This is the need to know what is going on in the world around us in order for us to conduct our
personal affairs safely, expeditiously and with minimum of wasted effort or embarrassment.
The nature of the search takes on different forms at different times with different people:
a. Exploratory mode
b. Habitual mode
One of the principal purposes of cue searching is to ensure personal safety. Cues may be provided
through familiar signs that may be detected by the senses.
a. Provide facilities where the senses can work.
b. Avoid sensory overload stress the critical information and subordinate everything else.
c. Provide direct guidance in the form of signs and symbols, or people assigned to assist
strangers to warn them against hazards or guide them to their destinations. This process of
merging cue searching with communications is called way finding.
Abstract cues are cues that inform us about social status and create the mental image we hold
both of people and institutions.
a. edifice complex projection of the rich and powerful of their wealth and authority by the
grandeur and opulence of their buildings
b. Interior cues include material quality, low noise level, ceiling height, door height, and the
quality of the decorative elements such as carpeting, wood panelling, lighting fixtures and
hardware.

8. Personal Safety
People need help in identifying those aspects of their environment that may be hazardous even
though the hazard is not obvious. They need help in identifying those aspects of their environment
that may be safe even though they may not appear to be safe.
The designer is responsible for resolving these concerns by creating a safe environment and
making it apparent to the user that it is safe. This psychological assurance is important in
encouraging people to enter and use new environments.
Principal categories of hazards that are frequently encountered in interior environments:
a. Clearance hazard
b. Object hazard
c. Collision hazard
d. Stability hazard
Designers should also reassure building users that they have nothing to fear.
SPACE ARTICULATION
Space is never meaningless. Spatial qualities have psychological meaning. Real space is always
inhabited and situated. By inhabiting space, we make it suit our needs, interpret it and give it meaning.
Inhabited space is always situated, and the environmental context affects its meaning. As designers, we can
manipulate the space as part of the context. Real spaces can then acquire characteristics as a result of a
complex interplay of social, aesthetic, and physical factors of the setting. We encounter objects and people in
space. They have material/physical presence we meet them face to face, feel their (potential) resistance to
our actions, and feel the atmosphere they emit like an aura.
The social effects of sharing space are intimacy, social nearness and a higher tendency to cooperate.
Configurability refers to the meaningful re-arrangement of (significant) objects, giving the user control over
the environment, enhancing engagement, supporting explorative behavior or providing thinking aids (external
representations).
Designers may configure spaces to alter its meaning, to establish an inhabited (or owned) space or to
control the material/physical presence of people and objects. Space articulation is often used in architecture
to define a zone of space within a larger spatial context. It may be achieved through:
1. Elevating a portion of the base plane
a. With the different surface it will create a new field of space, define the boundary of that space,
and interrupt the flow of space.
b. With the same surface the elevated plane will appear to be very much the same as the
surrounding space.
c. Within a building an elevated space can provide a retreat from the activity around it or an area
from which the surrounding spaces may be viewed.
2. Depressing the portion to be articulated. The ground plane may be depressed to define sheltered
areas or to make more extensive use of the areas on the normal level.
3. Changing the form, color or texture of the edges of the space. This creates visual boundaries and
eliminates the need for actual partitions between spaces.
4. Changing the formal and surface qualities of the ceiling. The ceiling can be lowered or recessed to
alter the scale of space.
5. Placing a vertical linear element. This establishes a point in the ground plane and creates imaginary
paths that lead the viewer to it.
6. Placing a row of columns (colonnade) that defines the edges of the volume. This helps to reinforce
boundaries while permitting visual and spatial continuity.
7. Placing a vertical plane which will articulate the space that it fronts. If it has two fronts or faces,
the plane establishes the edges of the two separate volumes of space.
8. Placing various elements parallel to each other. This helps in defining a field of space enclosed by the
objects.

FUNCTIONAL NEEDS OF INTERIOR ENVIRONMENT
Interior Design
The Difference between Interior Decoration and Design
Interior Decoration the process of arranging a room so that its component parts are independent of
each other and the relationships is maintained only with the use of color harmony and coordinated
arrangement of furniture and decorative objects.
Interior Design shaping and conditioning of space for the optimum physiological and psychological
environment that affects the users of the interior.
General Categories by Which Concerns and Issues may be addressed in Design:
1. Functional Zoning the need for adjacency
2. Architectural Space a concretization of mans existential space
a. Space is the most influential aspect of design problem solving
b. The designer must know what activities, conditions and people he is planning for
3. Circulation and Building Form circulation may be conceived as the perceptual together. Building
forms are the conceived as structures
4. Response to Context depending on the environment and the meaning of the structure in that
environment.
5. Building envelope the imaginary shape of a building indicating its maximum volume
Architectural Space
The geometric elements of point, line, plane and volume can be arranged to articulate and define
space. At the scale of architecture, these fundamental elements become linear columns and beams,
planar walls, floors and roofs.
A column makes a point in space and makes it visible.
Two columns define a spatial membrane through which we can pass.
Supporting a beam, the columns delineate the edges of a transparent plane.
A wall, an opaque plane, marks off a portion of amorphous space and separate here from there.
A floor defines a field of space with territorial boundaries.
A roof provides shelter for the volume of space beneath it.
In architectural design, these elements are organized to give a building form, differentiate between
inside and outside, and define the boundaries of interior space.
Interior Space
Interior spaces are formed first by a buildings structure system, further defined by walls and ceiling
planes, and related to other spaces by windows and doorways. Every building has a recognizable
pattern of these elements and systems. Each pattern has an inherent geometry which molds or carves
out a volume of space to its likeness.
Structuring Space with Interior Design
Although a buildings structural system sets up the basic form and pattern of its interior spaces, these
spaces are ultimately structured by the elements of interior design.
Structure refers to the selection of arrangement of interior elements such that their visual
relationships define and organize the interior space of a room.
Designing Interior Space
Interior Design necessarily goes beyond the architectural definition of space. In planning the layout,
furnishing and enrichment of space, the Interior Design should be highly aware of its architectural
character as well as its potential for modification and enhancement.
The design of interior spaces, therefore, requires an understanding of how they are formed by the
building systems of structure and enclosure. With this understanding, the Interior Designer can
effectively choose to work with, continue or even offer a counterpoint to the essential qualities of an
interior space.

Interior Design Services (According to UAP Doc. 203-A)
1. Prescribes the furniture and interior finishes appropriate for different activities and spaces; prepares
the furniture and furnishing layout.
2. Prepares the design and schedule of furniture giving their dimensions, specifications, locations, etc.
3. Assist the client in conducting bids and negotiations with furniture fabricators and other suppliers.
4. Checks and approves samples of materials and shop drawing of furniture, fixture and decor items.
5. Conduct final inspection and approval of furniture and other items.
Possible Roles of a Designer that may play in a Project
1. The decision-maker?
2. A specifier of products and designs?
3. An authority figure helping the client makes correct choices?
4. A combination of any of these?
INTERIOR DESIGN ELEMENTS
Interior spaces within buildings are defined by the architectural elements of the structure and
enclosure. These elements give a building its form, demarcate a portion of infinite space, and set up a
pattern of interior spaces.
Floors
Floors are the flat, level base planes of interior space. As the platforms that support our interior
activities and furnishings, they must be structured to carry these loads safely and their finishes must
be durable enough to withstand continuous use and wear.
The following criteria may be used in selecting flooring materials and finishes:
o Functional Criteria:
1. Durability
2. Ease of maintenance
3. Foot comfort
4. Safety under slippery conditions
5. Sound absorption of reflectance
o Aesthetic Criteria:
1. Pattern can be used as simple background (neutral patternless floor), as an accent, to define
areas, suggest paths of movement, or simply provide textural interest.
2. Compatibility with the general style of the room.
The designer must also determine the materials based upon quality or value for money, maintenance
cost, and availability for initial purchase or replacement.
Flooring patterns should also be chosen in proportion to the size of the room:
o In general, large-scale flooring works best in big rooms, small rooms require more study.
o A lengthwise pattern adds depth to a room, while a pattern running the width of a room makes
the space look shorter and wider.
o Accent pieces can be used to break up a large expanse, to highlight a focal point, or to define one
area of a room.
o In a multi-purpose room, a good design plan may use different types of flooring to define two or
more areas.
Walls
Walls are primary elements with which we define interior space. Together with the floor and the
ceiling planes which complete the enclosure, walls govern the size and shape of a room. They can also
be seen as barriers that limit our movement, separate one space from the next, and provide the
occupants of a space with acoustic and visual privacy.
Visual Effects Created By Designs Of Walls A wall can be differentiated from either the adjoining floor
or ceiling plane by a change of color, texture, or material, and made clearer with either trim-work or
reveal. Continuing the floor treatment up the lower portion of a wall can visually enlarge the room

but reduce the apparent wall height. Stable, precise and symmetrical walls with smooth textures
convey a feeling of formality. Irregularly- shaped walls with rough textures are more dynamic and
informal. Smooth walls with neutral color serve as passive background. Walls compete other elements
if they have irregular shapes, textures, patterns or a more vigorous color.
Doors and Windows
Windows and doorways interrupt the wall planes that give the building its form and interior spaces
definition. They are transitional elements or architectural and interior design that link both visually
and physically one space to another, and inside and outside.
Doors allow physical access for ourselves, furnishings and goods in and out of the building. Through
their design, construction and location, they can control the use of the room, the views from one space
to the next, the passage of light, sound, warmth and cool breezes. Whether internal or external, doors
can make an immediate difference in the atmosphere of a space.
Door Types:
1. Swinging:
o hinged on sidejambs
o most convenient for entry and passage
o most effective for isolating sound and for weather tightness
o requires space for swing.
2. Pocket Sliding:
o hung on track and slides into a pocket within width of a wall
o used when normal door swing will interfere with use of space
o represents a finished appearance when open
o for interior use only.
3. Surface Sliding:
o hung from an exposed track; primarily for interior use.
4. By-Pass Sliding:
o doors slide along an overhead track and along guides or tracks on the floor
o opens only 50% of doorway
5. Bi-Fold:
o consists of hinged door panels that slide on an overhead track
o for interior use only commonly as a visual screen
6. Accordion Folding :
o similar to bi-fold except that the panels are smaller
o for interior use only, commonly to subdivide a large room into smaller spaces
7. Special Folding
o panels slide on overhead tracks which can be configured to follow a curvilinear path; panels
can be stored in pockets or recesses;
o for interior use only.
8. Overhead Doors - consists of hinged door section that roll upward or an overhead track; capable
of closing off unusually tall or wide openings; for interior and exterior doors which are not
frequently used.
Window
Size, shape and placement affect the visual integrity of a wall surface and the sense of enclosure it
provides. A window can be seen as a bright area within a wall, an opening framed by a wall, or a void
separating two wall planes. It can also be enlarged to a point where in becomes the physical wall plane
a transparent window wall that visually unites the interior space with the outdoors or another
interior space.
When locating windows, one planning consideration is how much wall area remains between window
openings and whether the size and proportion of these wall segments can accommodate the
furnishings placed in front of them. Another consideration is the adverse effect direct sunlight may
have on the rooms occupants, and the finishes and furnishings.

Shutters:
o Rigid planes, usually wood; hinged to open and close like miniature doors
o Panels usually have adjustable louvers so that light and view may be filtered
o Provide clean, precise, uncluttered appearance
o When closed, shutters enhance the sense of enclosure
Grills:
o Decorative screens of wood or metal that can be used to mask views, filter light, or diffuse
ventilation (depending on spacing and orientation of members)
o May be fixed or adjustable
o Design serves as an important visual element
Curtains And Draperies:
o Curtains are usually of sheer, light material hung close to the window or within the window frame.
Draperies are usually of heavy fabric, tied back or hung on a rod covered with a valence or wide
cornice.
o Practical purposes:
a. to provide warmth and privacy
b. to exclude light partially or completely
c. to screen unwelcome views
o Matching walls and curtains can make a room seem larger while contrasting treatments draw
attention to window size.
Shades And Blinds comes in four (4) main types:
a. Roller Blinds: consists of a sturdy or stiffened fabric wound into a wooden roller. The roller
incorporates a spring so that the blind can be lowered into any position and then released to
snap back to its roller state.
b. Roman Blinds: attached at the top of a wooden batten, vertical cords threaded through rings
attached to the back of the blinds allow it to be pulled into soft horizontal folds.
c. Venetian Blinds: Made of thin strips of plastic or metal which can be adjusted to allow varying
degrees of light to filter through; when fully open, they can be almost visible.
d. Vertical Louver Blinds: Almost similar to Venetian blinds but the slats are wider and hang
vertically. The angle of the slats is altered to diffuse the light, or the whole arrangement can be
drawn back to either side to clear the window completely.
COLORS in INTERIOR DESIGN
Color Environment
Color
An inherent visual property of all forms
The colors that we see in objects find their source in the light that illuminates them. Without light,
color does not exist.
The most immediately noticeable and the most adaptable and variable element in decorating.
Different combinations of colors can create different effects on the same room and same furnishings.
Color Theory
Aims to predict or specify the color combinations that would work well together or appear
harmonious. The color wheel has been adopted as a tool for defining these basic relationships.
In the 20th century color theory attempted to link colors to particular emotional or subjective
associations. This project has failed for several reasons, the most important being that cultural colors
associations play the dominant role in abstract color associations, and the impact of colors in design
is always affected by the context.
Color Systems organizes colors and their attributes into a visible order. The simplest type such as the color
wheel organizes color pigments into primary, secondary and tertiary hues.

Color Wheel
The color wheel offers the easiest way to visualize how hues relate to each other.
Traditionally, artists have defined red, yellow, and blue as the three primary
colors from which all others on the wheel can be mixed.
The color wheel generally shows the pure hues of colors: red, blue and green. In
decorating, however, the tints (lighter values) and tones (also known as shades,
darker values) of the color are more likely to be used.
Reading the Wheel
Colors next to each other on the wheel are called analogous colors. They tend to
produce a single-hued or a dominant color experience.
Colors that lie opposite each other on the wheel are complementary; when paired,
each makes the other appear more vivid.
A split complementary color scheme employs a range of analogous hues, split
from a basic key color, with the complementary color as contrast.
A triadic color scheme adopts any three colors approximately equidistant around
the hue circle. This yields a lively yet balanced combination, but the scheme may
feel a little glaring unless one color is allowed to dominate and the other two are
used in lesser amounts or as accents.
Half of the color wheel, from red to yellow-green, is considered warm,
stimulating, and advancing while the other half of the wheel is described as cool,
with colors that generally appear to recede.
Dimensions of Color
Hue the attribute by which we recognize or
describe a color (ex. red, yellow); designation of the
color in the color wheel.
Brilliance or Intensity the degree of purity or
saturation of a color when compared to gray of the
same value; also brightness or dullness
o tint color plus white
o shade color plus black or complementary color
The pure hue represents the most intense or most saturated expression of a color. Adding the hues
complement will gray or muddy the color so that its softer, more muted, and less intense.
Value the degree of lightness or darkness of a color in relation to white or black; also vividness. Value
refers to how light or dark a color is; among all colors, yellow is the lightest/lightest value, and purple
is the darkest /lowest.
All these attributes of color are necessarily interrelated. Each principal hue has a normal value. If
white, black or a complementary hue is added to a color to lighten or darker its value, its intensity will
also be diminished.

Color Schemes:
Chromatic Schemes schemes where colors are present
Achromatic Schemes schemes that use only white, gray and black
Related Colors are generally harmonious and restful, and are used for rooms wherein a consideration
span time is spent (monochromatic scheme, analogous)
Contrasting Scheme use opposing rather than related hues are combined; tend to be stimulating
(complementary, double complementary, split complementary, triads)
Neutral Colors neutrals are obtained by mixing pure colors with either white or black, or by mixing
two complementary colors. In color theory, neutral colors are colors easily modified by adjacent more
saturated colors and they appear to take on the hue complementary to the saturated color. Neutrals
include browns, tans, pastels and darker colors.
Color Characteristics:
Red, Orange, Yellow
o Red has been shown to raise blood pressure and speed respiration and heart rate.
o Orange, like red, stimulates appetites. In its pure form, however, orange may be a difficult color
to live with. Terra-cotta, salmon, peach, coral, and shrimp are more popular expressions of the
hue.
o Yellow captures the joy of sunshine and communicates happiness.
Green, Blue, Purple
o Green is considered as the most restful color for the eye. Combining the refreshing quality of blue
and the cheerfulness of yellow, green is suited to almost any room in the houses.
o Blue brings down blood pressure and slows respiration and heart rate. Thats why it is considered
calming, relaxing, and serene, and is often recommended for bedrooms and bathrooms.
o Purple in its darkest values (eggplant, for example) is rich, dramatic, and sophisticated. Its
associated with luxury as well as creativity, and as an accent or secondary color, it gives a scheme
depth.
Guidelines for Development of Color Environment:
1. Personal taste of the client. Personalities are supposed to be revealed by color preferences.
2. Use of space. Different color schemes are applied for homes, offices and commercial spaces.
3. Character of interior. Traditional interiors require a color scheme that is different from that of
contemporary. Also for formal and informal interiors.
4. Color as background. Advancing or receding colors may be used to accentuate or minimize details to
make a room look higher or bigger. Warm hues tend to advance; dark values and saturated colors
suggest nearness. These traits can be used to diminish the scale of a space or, in an illusionary way,
shorten one of the rooms dimensions.
5. Orientation. Areas that receive different sunlight should have duller colors if they are used for
relaxation. Opposite treatment may be applied if there should be a more active use.
6. Climate. Interiors in tropical settings are usually rich and bright in colors.
Color Sources for Interiors:
Natural schemes
Patterns and prints
Local/regional climate
Color wheel
Personal preferences
SUGGESTIONS ON THE USE OF COLORS:
1. Basic Plan or Idea for the Color Scheme. The desired effect must be taken into consideration. Used in
the interior design or fashion, warm colors are said to arouse or stimulate the viewer, while cool colors
calm and relax.
2. Form And Color Should Be Related To Each Other

Some colors are easier to accept in large amounts than others. Generally, lighter colors should be
used for elements that occupy a greater part of the interior. Large areas of color should be low in
intensity and small areas should be bright. Rich, dark colors must be used with massive elements
to minimize them, but they may also be used if desired effect is to accentuate smaller elements
Deep, cool colors appear to contract. Light, warm colors tend to expand increase the apparent
size of an object, especially when seen against the dark background. Therefore, larger elements
should generally be duller than smaller elements.
3. Simultaneous Contrast May Alter The Appearance Of Any Color
If two complementary colors are placed next to each other in their PURE states, they intensify
each other they tend to heighten each others saturation and brilliance without an apparent
change in hue.
If one color is much lighter than the other, the effects of contrasting values become more
noticeable. Simultaneous contrast also affects the apparent value of a color which can be made
to appear darker or lighter according to the value of the background color.
Both black and white have a visible effect on color when brought into contrast with them. Black
makes color richer and more vibrant while white has the opposite effect.
Equality of hue, value and intensity is usually not pleasant because it gives no emphasis or
contrast. Interest and attention are easily aroused if hues, values or intensities are varied.
Use quiet shades to balance brighter colors. They rest the eye and create a harmonious effect.
Equality of hue, value and intensity is usually not pleasant because it gives no emphasis or
contrast. Interest and attention are easily aroused if hues, values or intensities are varied.
Use quiet shades to balance brighter colors. They rest the eye and create a harmonious effect.
4. Color And Light
Apparent changes in the objects color can result from the effects of light and from the
juxtaposition of surrounding or background colors. Color should also considered with respect to:
a. Amount and quality of natural light daylight can be warm or cool depending on the time of
day and from the direction from which it comes.
b. Amount and type of artificial light. - The apparent value of a color can also be altered by the
amount of light used to illuminate it. Lowering the amount of illumination will darkens a
colors value and enhance its intensity.
5. Color Board. Because color variations are nearly limitless, it is impossible to remember a specific color.
Color boards are useful in indicating the colors chosen for a specific interior environment. They are
collections of swatches mounted on a board to show the colors which are to be used for particular
interior elements.
INTERIOR LIGHTING
Lighting
Lighting can be considerably change the atmosphere of the room. Good lighting, in fact, can add new
dimensions to an interior space. A variety of effects can be achieved merely by creating different
lighting layouts in a room:
o Light sources can warm up and create intimacy in a cold-looking interior
o Expand a confined space
o Designate different areas for different uses
Because of the huge impact of the choice of lighting effects in the interior, lighting plan and design
must be determined based on the following factors:
o Activities
o Highlights
o Deficits
o Ambience
o Balance
o Flexibility
o Variety
o Decorative style

Types of Lighting
1. General or Background Lighting essentially acts as a replacement for daylight and provides good,
general visibility. Typically, it is supplied by a ceiling- mounted fitting or a pendant, But is best achieved
with a mix of sources, such as a central ceiling-mounted fixture and recessed spotlights around the
perimeter. Alternatives include wall lights, uplights or table lights.
3. Task or Local Lighting an extra level of light provided in areas where specific task are to be
performed. Task lighting focuses on a specific task, and makes working much more comfortable. This
type of lighting needs to be well-positioned and directed to be used effectively, AND is best achieved
with a mix of sources, such as ceiling-or-wall-mounted fixtures augmented with more directional
lighting.
4. Accent or Decorative Lighting creates a sense of drama by conjuring up color, texture and form, and
is designed to spotlight the rooms best features. Effects are best achieved by track lights, recessed
lights, and wall-mounted fixtures. A dimmer may be incorporated to create multitude of moods.
5. Utility or Information Lighting practical rather than aesthetic, used to illuminate dark and potentially
dangerous areas such as stairways and paths.
INTERIOR PLATSCAPING (Using Plants in Interiors)
Factors to Consider in Selection
1. Growing conditions
2. Plant growth
3. Relation to the Interior
Color
Patterns
Amount of warmth and light
4. Foliage
Shape leaf shape, leaf edges
Texture and form smooth/ glossy, corrugated; broad/flat. Thin/curling over
Pattern of leaves heightens and dramatizes the effect of foliage; vegetation
Color
Six (6) Basic Growth Patterns of Plants
1. ROSETTE a roughly circular cluster of leaves radiating from a central growing point. Best when use
with upright plants, trailing plants
2. BUSHY have several sterns growing from potting level, giving the plant spread almost equal to its
height. Often used alone rather than in group displays, or as background for trailing plants.
3. GRASSY have slender but tough and wiry stems sheathed with narrow pointed leaves. Provides
graceful contrast in texture and outline to all other foliage plants. These can be upright, trailing or
arching.
5. UPRIGHT plants that extend their growth vertically rather than horizontally. Often composed of nonwoody stems that bear leaves along its length; single stemmed plants shed lower leaves. Some are
stem-less while other are leafless. Perfect with low-growing, spreading rosettes and trailers
6. TREELIKE has a single, upright trunk topped by a crown of branches or foliage. Effective when used
as isolated focal points in spacious surroundings
6. CLIMBING AND TRAILING normally grows in any direction that provides support to which it can cling.
Ideal for framing archways and window, screens, or as hanging plants.
- END OF ARCHITECTURAL INTERIORS Architectural Interiors and the Theories of Architecture 01 and 02

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AC 423: Architectural Correlations

AC 423: Architectural Correlations

AC 423: Architectural Correlations

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