DES 112

ARCHITECTURAL DESIGN 1- Introduction to Design

LEARNING PACKET 2
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WHAT IS A DESIGN?
 a plan or drawing produced to show the look and function or workings of a building,
garment, or other object before it is still built or made

1.2.1 PRIMARY ELEMENTS

“All pictorial form begins with the point that sets itself in motion…

The point moves . . . and the line comes into being—the first dimension.
If the line shifts to form a plane, we obtain a two-dimensional element.
In the movement from plane to spaces, the clash of planes gives rise to body (three-
dimensional) . . . A summary of the kinetic energies which move the point into a line,
the line into a plane, and the plane into a spatial dimension.”

Paul Klee
The Thinking Eye: The Notebooks of Paul Klee
(English translation)
 This opening chapter presents the primary elements of form in the order of
their growth from the point to a one-dimensional line, from the line to a two-
dimensional plane, and from the plane to a three-dimensional volume. Each element
is first considered as a conceptual element, then as a visual element in the vocabulary
of architectural design.

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

When made visible to the eye on paper or in three-dimensional space, these

elements become form with characteristics of substance, shape, size, color, and texture.
As we experience these forms in our environment, we should be able to perceive in
their structure the existence of the primary elements of point, line, plane, and volume.
  POINT indicates a
position in space.

A point extended
becomes a

 LINE with
properties of:
 length
 direction
 position

A line extended
becomes a

 PLANE with
properties of:
 length and width
 shape
 surface
 orientation
 position

A plane extended
becomes a

 VOLUME with
properties of:
 length, width, and
depth
 form and space
 surface
 orientation
 position
 POINT

A point marks a position in space.

Conceptually, it has no length, width,
or depth, and is therefore static,
centralized, and directionless.

As the prime element in the

vocabulary of form, a point can serve
to mark:

 the two ends of a line

 the intersection of two lines
 the meeting of lines at the corner of a
plane or volume
 the center of a field

Although a point theoretically has neither shape nor form, it begins to make its
presence felt when placed within a visual field. At the center of its environment, a point is
stable and at rest, organizing surrounding elements about itself and dominating its field.

When the point is moved off-center, however, its field becomes more aggressive and
begins to compete for visual supremacy. Visual tension is created between the point and its
field.
TWO POINTS

Two points describe a line that connects them.

Although the points give this line finite length, the line
can also be considered a segment of an infinitely longer
path.

Two points further

suggest an axis perpendicular to
the line they describe and about
which they are symmetrical.
Because this axis may be infinite
in length, it can be at times more
dominant than the described line.

In both cases, however,

the described line and the
perpendicular axis are optically
more dominant than the infinite
number of lines that may pass
through each of the individual
points.
LINE

A point extended becomes a line.

Conceptually, a line has length, but no
width or depth. Whereas a point is by
nature static, a line, in describing the path
of a point in motion, is capable of visually
expressing direction, movement, and
growth.

A line is a critical element in the

formation of any visual construction.

It can serve to:

• join, link, support, surround, or

intersect other visual elements

• describe the edges of and give

shape to planes

• articulate the surfaces of planes

 LINEAR ELEMENTS

Vertical linear elements,

such as columns, obelisks, and
towers, have been used
throughout history to
commemorate significant events
and establish particular points in
space.

Bell Tower, Church at Vuoksenniska,

Menhir, Column of Marcus Aurelius, Obelisk of Luxor,

a prehistoric monument Piazza Colonna, Rome, A.D. 174. Place de la Concorde,
consisting of an upright This cylindrical shaft commemorates Paris. The obelisk,
megalith, usually standing the emperor’s victory over Germanic which marked the
alone but sometimes aligned tribes north of the Danube. entrance to the Amon
with others. temple at Luxor,
was given by the
viceroy of Egypt,
Mohamed Ali, to
Louis Phillipe and
installed in 1836.

Vertical linear elements can also define a

transparent volume of space. In the example
illustrated to the left, four minaret towers outline
a spatial field from which the dome of the Selim
Mosque rises in splendor.
Selim Mosque, Edirne, Turkey,

 So I guess you are familiar with the above discussion

since it’s the basic starting point on creating something.

FROM LINE TO PLANE

 Two parallel lines have the ability to
visually describe a plane. A transparent
spatial membrane can be stretched between
them to acknowledge their visual
relationship. The closer these lines are to
each other, the stronger will be the sense of
plane they convey.

A series of parallel lines, through their

repetitiveness, reinforces our perception of
the plane they describe. As these lines
extend themselves along the plane they
describe, the implied plane becomes real
and the original voids between the lines
revert to being mere interruptions of the
planar surface.

The diagrams illustrate the

transformation of a row of round columns,
initially supporting a portion of a wall, then
evolving into square piers which are an
integral part of the wall plane, and finally
becoming pilasters—remnants of the
original columns occurring as a relief along
the surface of the wall.

“The column is a certain strengthened

part of a wall, carried up perpendicular from
the foundation to the top … A row of
columns is indeed nothing but a wall, open
and discontinued in several places.” Leon
Battista Alberti
LINEAR ELEMENTS DEFINING PLANES

Altes Museum, Berlin, 1823–30, Karl Friedrich von Schinkel

 A row of columns
supporting an entablature—
a colonnade—is often used
to define the public face or
facade of a building,
especially one that fronts on
a major civic space. A colonnaded facade can be penetrated easily for entry, offers a degree
of shelter from the elements, and forms a semi-transparent screen that unifies individual
building forms behind it.

The Basilica, Vicenza, Italy.

Andrea Palladio designed this two
story loggia in 1545 to wrap around
an existing medieval structure. This
addition not only buttressed the
existing structure but also acted as a
screen that disguised the irregularity
of the original core and presented a
uniform but elegant face to the Piazza
del Signori.
Stoa of Attalus fronting the Agora in Athens

PLANE
 A line extended in a
direction other than its
intrinsic direction becomes
a plane. Conceptually, a
plane has length and
width, but no depth.

Shape is the primary

identifying characteristic
of a plane. It is determined
by the contour of the line
forming the edges of a
plane. Because our
perception of shape can be
distorted by perspective
foreshortening, we see the
true shape of a plane only
when we view it frontally.

The supplementary
properties of a plane—its
surface color, pattern, and
texture—affect its visual
weight and stability.

In the composition of a
visual construction, a plane
serves to define the limits
or boundaries of a volume.
If architecture as a visual
art deals specifically with
the formation of three-
dimensional volumes of
mass and space, then the
plane should be regarded
as a key element in the
vocabulary of architectural
design.
 PLANAR ELEMENTS

The ground plane ultimately

supports all architectural
construction. Along with climate
and other environmental
conditions of a site, the
topographical character of the
ground plane influences the form
of the building that rises from it.
The building can merge with the
ground plane, rest firmly on it, or
be elevated above it.
The ground plane itself can be
manipulated as well to establish a
podium for a building form. It can
Scala de Spagna (Spanish Steps), Rome, 1721–25. be elevated to honor a sacred or
significant place; bermed to define
outdoor spaces or buffer against undesirable conditions; carved or terraced to provide a
suitable platform on which to build; or stepped to allow changes in elevation to be easily
traversed.

Mortuary Temple of Queen

Hatshepsut,
Dêr el-Bahari, Thebes, 1511–1480 B.C.,
Senmut.
Three terraces approached by ramps rise
toward the base of the cliffs where the
chief sanctuary is cut deep into the rock.

Machu Picchu, an ancient Incan city

established c.1500 in the Andes Mountains
on a saddle between two peaks, 8000 ft. above
the Urubamba River in south-central Peru.
VOLUME

A plane extended in a direction other

than its intrinsic direction becomes a
volume. Conceptually, a volume has three
dimensions: length, width, and depth.

All volumes can be analyzed and

understood to consist of:

• points or vertices where several planes come

together
• lines or edges where two planes meet
• planes or surfaces that define the limits or
boundaries of a volume

Form is the primary

identifying characteristic of a
volume. It is established by the
shapes and interrelationships
of the planes that describe the
boundaries of the volume.

As the three-dimensional
element in the vocabulary of
architectural design, a volume
can be either a solid— space
displaced by mass—or a
void—space contained or
enclosed by planes.
 VOLUMETRIC ELEMENTS

Building forms that stand as objects in

the landscape can be read as occupying
volumes in space.

Villa Garches, Vaucresson, France, 1926–27, Le

Corbusier

Doric Temple at Segesta, Sicily, c. 424–416 B.C.

Barn in Ontario, Canada

1.2.2 ARCHITECTURAL DESIGN

 Now we move on to Architectural Design? Do you have

any idea about Architectural Design?

 Architectural design is a concept that focuses on components or elements of a

structure. A licensed architect is generally the one in charge of the architectural
design. They work with space and elements to create a coherent and functional
structure

 It is the translation of an abstract solution to a real, tangible and concrete solution

 Architectural design focuses on the aesthetic and function of the structure. It’s design
works to create a space that flows with its surroundings.

“Architectural Plans”

A two (2)-dimensional representations reflecting a proposed

development/redevelopment of an enclosed/ semi-enclosed or open area
showing features or elements such as columns, walls, partitions, ceiling, stairs,
doors, windows, floors, roof, room designations, door and window call-outs, the
architectural layout of equipment, furnishings, furniture and the like,
specifications callouts, elevation references, drawing references and the like; the
architectural plan is the representation of a lateral section for a proposed building/
structure (running parallel to the ground) and at a height of from 1.0 – 1.5 meters
above the finished floor; the term may also collectively refer to other architectural
designs such as cross/ longitudinal sections, elevations, roof plan, reflected ceiling
plan; detailed sections and elevations showing architectural interiors, detailed
architectural designs, door and window schedules, other architectural finishing
schedules and the like.

Below are the major parts of Architectural Plans

FLOOR PLAN
ELEVATIONS (Front, Rear, Left,Right)

SECTIONS (Cross & Longitudinal)

REFLECTED CEILING PLAN

ROOF PLAN
SCHEDULE OF DOORS AND WINDOWS

PERSPECTIVE
 Visual Thinking and Graphic Ideas: Design Concept

 Have you heard the word concept? Do you have any

idea?

WHAT IS A CONCEPT?

 A simple words… A concept is an IDEA!

 Something formed in the mind: a thought or notion
 Mind representation
 Solution
 Driving force of any project, an identity for the work

A. Definition of Concept

 Idea
 Theory
 Image
 Notion
 View
 Parti (French
 Intention
 Conception
 Plan
 Opinion
 Thought
 Abstraction
 Impression
 Philisophy
 Hypothesis
 Belief
 DESIGN

B. Visual Transformation
 C. Where do ideas (Concepts)
come from?

 Program (functional
requirements)
 Place/ Culture/ Society
 Technology/ Material/
Method
 Personal Architectural
Influences
 Movement
 Space/ Emotions
 Speed/ Technology
 Site (site analysis)  Memory/ Place
 Precedent Research

D. Dimensions of Concepts

Any Building concept should provide:

 Exterior Expression
 Interior Experience

E. Elements of Concept Generation and Expression

 Function
 Form
 Materials
 Structure
 Lighting
 Ventilation
 Meaning
 Philosophy

 You might be asking yourselves: I can design without a

concept, why do I need to go through all the trouble?
 Well, that’s absolutely true but you need a concept
because:

F. Why we need Concept?

  It gives depth and meaning to your work, the more innovative and coherent
your concept, the more interesting your work is.
 Concepts open the door for more related ideas, they make you think and
research. A richer concept means a richer building.
 Concepts are what distinguish architects, yes anyone might be able to design
(functionally) with experience, but your creativity is what makes you special
even among peer architects and designers.

G. How to start?

 Be comfortable, use any, yes any way you find best to express what you are
thinking of.
 Understand the nature and context of the project you are working on.
 Brainstorm, don’t be afraid to experiment.
 Empty all your thoughts, the relevant and irrelevant, on butter paper.
 Select one or a couple of ideas, work more intensively on them.
 Settle on the concept, an idea you personally feel attracted to.
 Remember; great concepts have a humble beginning. Concept evolve.
 With time, every architect finds his preferable way.

But also…

 Remember that the concept is usually derived from an idea related to the
project, its function, context, and objective.
 The concept will definitely evolve as you work, don’t worry!
 The concept is to be applied on any project (of any scale) on all levels and
details.
 And again, great concepts have humble beginning.

H. You have a concept but don’t know how to communicate it?

 Multiple tools can be used to express your idea;

 Drawings, all sorts of drawings are applicable even if a section.
 Conceptual models
 Use little text
 Using different materials, colors and methods might help you both
understand better what you are doing and hence express your concept.
 Sometimes you need multiple tools to express your idea.
HOW CAN I EXPRESS A CONCEPT?

 Diagrams- drawing of geometric shapes to show different relationships

within any given space.

 Parti – a type of diagram that serves as a general idea to figure out a

building’s program or layout. They are usually in the form of quick
sketches or even 3D models.
 Parti Models
 Morphology - the study of the forms of things, in particular

 Conceptual Models

 Yes you can turn your idea into a model

Conceptual model can be used to express:

 Layers of a project: vertical, horizontal and rotated planes

 Outer Shell
 Circulation, whether vertical or Horizontal and types
 Materials and colors
 Any construction issues
 Coherence with Topography
 Any other idea you want to communicate
 PHILIPPINE PERSPECTIVE ON HOUSING
1.2.3 HOUSING IN THE PHILIPPINES

1.3 REFERENCES

1. https://cumminshomedesign.com/blog/2018/5/23/what-is-architectural-
design#:~:text=Architectural%20design%20is%20a%20concept,a%20coherent%20and%20fu
nctional%20structure.&text=The%20first%20step%20of%20the%20design%20phase%20is%
20the%20schematic%20design.
2. https://www.slideshare.net/coolgirl0000/architectural-concepts-a-guide-to-architectural-
design-concepts
1.4 ACKNOWLEDGEMENT
 The images, tables, figures and information contained in this module were
taken from the reference cited above.