ADF113 - City University - Spring 22

PERCEPTION &
COMMUNICATION Course Instructor: Fawaz Charafeddine
READ WATCH TIP ASSIGNMENT EXERCISE
 E
A R C H I T E C
WHAT IS INTERIOR DESIGN ?T U R E
E E
 WHAT IS ARCHITECTURE? READ THIS

ArchDaily architecture definitions

Architecture is a passion, a purpose, a profession – as well as Link

a science and a business. It has been described as a social art

Laugier, Marc Antoine An Essay on
and also an artful science. Architecture must be of the highest Architecture Hennessy & Ingalls, 1985.
Link
quality of design. Architecture provides, in the words of Marcus Vitruvius,
the great Roman architect and historian, “firmness, commodity and delight”

Vitruvius The Ten Books on

Architecture (Pages 5 to 16)
Link
Architectural Language

Firmness refers to structural integrity and durability;

Commodity refers to spatial functionality or in other words, “serving its purpose” and fulfilling the
function for which the building was constructed;
Delight means that the building is not only aesthetically and visually pleasing, but also lifts the spirits
and stimulates the senses. READ
 WHAT IS INTERIOR DESIGN? READ THIS

Maslow’s hierarchy of needs

Interior design is defined as the professional and Link

comprehensive practice of creating an interior environment An Introduction to the interior design

profession
that addresses, protects, and responds to human needs. It is Link
the art, science, and business planning of a creative,
technical, sustainable, and functional interior solution that
corresponds to the architecture of a space, while incorporating
process and strategy, a mandate for well-being, safety, and
health, with informed decisions about style and aesthetics.
Architectural Language

Maslow's hierarchy of needs are: physiological, safety, love and belonging needs, esteem, and self-
actualisation.
Aesthetics, also spelled Esthetics, is the philosophical study of beauty and taste. READ
 VITRUVIUS: The Ten Books Of Architecture
BOOK I: Chapter I - The Education of the Architect

“The architect should be equipped with knowledge of many branches of study and
varied kinds of learning.
Practice is the continuous and regular exercise of employment where manual work is
done with any necessary material according to the design of a drawing. Theory on the
other hand, is the ability to demonstrate and explain the skills for productions on the
Architectural Language

principles of proportion”
–Marcus Vitruvius Pollio

READ
 VITRUVIUS: The Ten Books Of Architecture
BOOK I: Chapter I - The Education of the Architect

“Therefore, the architect who have aimed at acquiring manual skill without
scholarship have never been able to reach a position of authority, while those who
relied only upon theories and scholarship were hunting the shadow not the substance.
But those who have a thorough knowledge of both, achieve their production and carry
Architectural Language

command, control and mastery with them”

–Marcus Vitruvius Pollio

READ
 VITRUVIUS: The Ten Books Of Architecture
BOOK I: Chapter I - The Education of the Architect

“An architect ought to be an educated person, he must have a knowledge of

drawing, making sketches to show the appearance of the work. Geometry which
teaches him the use of the rule and compass in order to make plans for the building
in their grounds and apply the square, the level and the plummet. Optics and the
light can be drawn to the building. Arithmetic, used to calculate the building costs
and compute measurements. A wide knowledge of history. Philosophy makes the
Architectural Language

architect high-minded and renders him polite, just and honest. A knowledge in
physics is required to solve problems of different kinds. Music, to have knowledge of
the mathematical theory. ”

–Marcus Vitruvius Pollio

READ
 VITRUVIUS: The Ten Books Of Architecture
BOOK I: Chapter I - The Education of the Architect

“The architect should have a knowledge of the study of medicine on account to the
questions of climate, air and healthiness and unhealthiness of sites. From astronomy
he finds the East, West, South and North as well as the theory of the heavens, the
equinox, solstice, sundials and the stars ”
Architectural Language

–Marcus Vitruvius Pollio

READ
 ALVAR AALTO
Hugo Alvar Henrik Aalto,

WATCH
born Feb. 3, 1898, Kuortane, AA Architects: Alvar Aalto:
Finland, Russian Empire— Link
died May 11, 1976, Helsinki,
Finland, Finnish architect,
city planner, and furniture
designer whose
international reputation
rests on a distinctive blend Alvar Aalto Biography:
o f m o d e r n i s t Link
refinement, indigenous
materials, and personal
expression in form and
detail.
Architectural Language
 Representational drawings READ THIS

Sketches for Design and Design of

Sketches
Link

The Design Sketching Process

Link
Architectural Language

Drawing is a form of visual communication, based on a

common, agreed-upon visual language that conveys ideas,
depicts existing conditions, and creates unbuilt
environments. It serves to provide visual representations for
the discussion and understanding of design ideas and
intentions.
READ
 Design intentions Sketchbooks
One of the tools that you will want to
keep handy at all times is your
Different drawing sketchbook.

methods are used Having a sketchbook can be useful—a

sketchbook should travel with you
to represent everywhere. It is the place to record
ideas, sites that interest you, and
different design architecture that excites you.

intentions. It is also, ideal for working out ideas

regarding your own projects and
Drawings can collecting images for your image
folder.
capture the mood
Architectural Language

of a space while
line drawings
provide a more
precise technical
depiction of a
space.
TIP
 Thinking through drawings

Architects envision, By asking the questions

design, and think through
drawing and modeling. They
record ideas, test scenarios, - What will the drawing convey?
and produce lines that
capture thoughts.
- What is the design idea that needs to
This intention has the be narrated through the
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potential to create a more

representations?
meaningful connection
between project depictions
and the architectural idea, - What types of drawings best convey
making possible a stronger
argument for the project. those architectural ideas?
 Thinking through drawings

They draw to develop

ideas and communicate
In the early design process,
their thinking. Design
designers draw diagrams
drawing is an iterative and
and sketches to explore
interactive act involving
ideas and solutions.
recording ideas,
Designers use paper and
Architectural Language

recognising functions and

pen to develop conceptual
meanings, and finding
deigns.
new forms and adapting
them into design.
 Thinking through drawings

Conceptual Sketching, can reveal the essence

of a complex idea. The challenge in the
concept is to clearly communicate the design
intention.
Architectural Language
 Thinking through drawings

Analytical Sketching, can be used to analyse a

building, space or component. These can be
created at any stage of the design process.
Architectural Language
 Thinking through drawings

Observational Sketching,
can be used to describe
aspects of a building,
exploring materials,
colour and space.
Architectural Language
 VISUAL COMMUNICATION
TITLE: WHO ARE YOU?
OBJECTIVE: Introduction to visual communication

A1 - A Collage Portrait
SUGGESTED METHOD: Prepare a visual collage that includes a picture of
- First, collate the images you wish to use yourself and describes your interests. This may
include all or at lease 8 of your following favourites:
- Second, play with the arrangement by changing the scale of
the images, colour intensity or hue, experiment with - Musician or type of music
- Activities
- Heroes
repetition of elements to get the overall composition or - Place
- Artist
shape of the collage. Record 3 test layouts and select the - Building
- Event
one you feel is the best. - Weather
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- Clothing
Famous Collage Artists: - Book
- Film
- Object
Kurt Schwitters, Man Ray, Richard Hamilton, Joseph Cornell, - Material
- Texture
Nancy Spero, Peter Blake, Hannah Hoch, Annegret Soltau,
Russel Mills. This challenge is to design a collage of different
images into one whole image.

ASSIGNMENT
 VISUAL COMMUNICATION

WHY
Have you ever provided information
that no-one seems to read?
How about explaining concepts that
people just don’t seem to get?

Why does this happen?

Architectural Language

Because people are overloaded with

information. They want to consume
the important information quickly.
People skim text and often miss key
pieces of information. Concepts need
to be clear, simple and logically
explained.
 VISUAL COMMUNICATION

What
Think about your
audience, i.e. ‘the
user experience’
Who are they and
what sort of tone
Before

AFTER
should you use?
What do they
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need?
Think about what
you are trying to
achieve –what is
your main
purpose?
 VISUAL COMMUNICATION

Examples
Architectural Language
 VISUAL COMMUNICATION

HOW
Set your page size: A4, A3, A0 etc
- Choose landscape or portrait
- Add and edit images
- In PowerPoint you can crop, remove backgrounds,
alter colours etc
- Use Shapes or SmartArt to create your own images,
Architectural Language

flowcharts etc
- Save file as PDF (printing) or JPG (online)
 VISUAL COMMUNICATION Image websites

Image tips - Open Clip Art link

- Wikimedia link
Use Pixabay and other CC websites - WikiArt link
UseCC Search website - Flickr link
- Stocksnap link
- Startup link
Images with a checkerboard background have a - Gratisography link
transparent background - Kaboompics link
- Pexels link
These must be PNG not JPG files
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- Picture Australia link

- Science Image link
Printing should use around 300 dpi. Online only
needs 72 dpi.
Increasing an image’s size will lead to pixilation! But
you can always make images smaller.

TIP
 VISUAL COMMUNICATION Design websites

Design Tricks Piktochartis a great online design

program

White space Use their templates to get started, or use a

blank canvas

Make it easy to scan! Chunk info, use headings and Use the images provided, or upload your
own

dot points
Colour Canvais another option, but slightly
more advanced

Keep it simple (e.g. three colours max, with different Start with a blank canvas and set a custom
size, or search their templates

shades) Use the images provided, or upload your

own

Think about contrast, readability, accessibility and

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printability
Fonts
Be consistent, use bold and italics
Consistency
Use the same style of images and other design
elements
TIP
 Types of drawings

Architects give their ideas physicality through drawing. They employ a variety of different
drawing types, typically selected based on the criteria of design intention and the audience.
Two-dimensional drawings, Photo Collage Orthographic Drawings Exploded View
referred to as orthographic
projections, include plans,
sections, and elevations.
Perspective and
axonometric are examples of
three-dimensional drawing
types. Drawings that
Architectural Language

overlap or combine
linework with photographs,
color, or some other graphic
material are referred to as
collage. Any of these
drawing types can be
constructed as hardline Perspective Drawings
drawings or as freehand
drawings.
 Using Scale In Architecture

The triangular scale rule, usually having six measurement gradations, is commonly used for
drawing and modelling constructions. Most use increments of one millimetre to create a
wide range of scales. The appropriate scale is used to take measurements from the drawing
in metres.

Each scale is indicated as a ratio at the

far edges of the measurement
increments. For instance, the 1:20
marked on the far left indicates the
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scale of 1 cm being equivalent to 20 cm

on a drawing scaled at one to twenty.
scale explained:
1:100
1 cm on paper = 100 cm in reality
OR
1cm on paper = 1m in reality
i.e. 1mm on paper = 10 cm in reality
Therefore measurements that are less than 10cm in
reality can not be displayed on paper at this scale
 Using Scale In Architecture

1:100 0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 4 4.1 4.2 4.3 4.4 4.5 4.6 4.7 4.8 4.9 5

1m

10cm

1:50 0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 4 4.1 4.2 4.3 4.4 4.5 4.6 4.7 4.8 4.9 5
Architectural Language

1m
10cm
5cm

1:20 0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 4 4.1 4.2 4.3 4.4 4.5 4.6 4.7 4.8 4.9 5

1m
20cm
10cm
2cm
 Using Scale In Architecture

1:10 1: 10 , 1cm on paper = 10 cm in reality. i.e. 1mm on paper = 1cm in reality

1:5 1: 5 , 1cm on paper = 5 cm in reality. i.e. 1mm on paper = 0.5 cm in reality

1:1 1: 1 , 1cm on paper = 1 cm in reality. i.e. 1mm on paper = 0.1 cm in reality i.e. 1mm on paper = 1mm in reality
Architectural Language

2:1 2: 1 , 2cm on paper = 1 cm in reality. i.e. 1mm on paper = 0.2 cm in reality i.e. 1mm on paper = 2mm in reality

5:1 5: 1 , 5cm on paper = 1 cm in reality. i.e. 1mm on paper = 0.5 cm in reality i.e. 1mm on paper = 5mm in reality

10:1 10: 1 , 10cm on paper = 1 cm in reality. i.e. 1mm on paper = 1 cm in reality i.e. 1mm on paper = 10mm in reality
 Scale and Proportion

Scale refers to the size of something compared to a reference standard “1:100” or to the size
of something else” human scale “
Architectural Language

When the proportions of architectural composition are applied to a particular building, the
two-termed relationship of the parts to the whole must be harmonised with a third term—
the observer. He not only sees the proportions of a door and their relationship to those of a
wall, but he measures them against his own dimensions. This three-termed relationship is
called scale.
 Scale and Proportion

Proportion refers to the harmonious

relation of one part to another or to the Why are proportioning systems useful and
whole. significant in architectural design?

- The intent of all theories of proportions is to

create a sense of order and harmony among the
elements in a visual construction.
- To establish a consistent set of visual
relationships between the parts of a building.
Architectural Language

- The visual order they create can be sensed,

accepted, provide an aesthetic rationale for their
dimensions.
- They can visually unify the multiplicity of
elements in an architectural design by having all
of its parts belong to the same family of
proportions.
 Scale and Proportion

The designer has a range of choices

when determining the proportions of
things, some are given to us by the
nature of materials, by how building
elements respond to forces “tension or
pressure”, its function and by how
things are made “manufacturing”.
Because these elements are mass-
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produced in factories, they have

standard sizes.

The designer has the ability to control

the proportion of the forms and
spaces within and around a building.
 Scale and Proportion

A ratio refers to the quantitative

comparison of two similar things,
while proportion refers to the
equality of ratios.

A proportion is the equality between

two ratio.
Architectural Language

A proportioning system establishes a

consistent set of visual relationships
between the parts of a building; as
well as between the parts and the
whole.
 Scale and Proportion

If a space 400 sqm in area were required,

what dimensions-what ratios of width-to-
length and length-to height should it have?

The functioning of the space and the nature 20x20

of the activities to be accommodated will
influence its form and proportion. The
structural system, or the exterior
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environment might limit one or more of its

dimensions.
- A square space, having four equal faces, is
18x22 16x24
static in nature.
- If its length expands and dominates its
width, it becomes more dynamic.
8x50
 Types of Proportion

Golden Ratio

The golden ratio is also called the golden mean or golden section. Other names
include extreme and mean ratio, medial section, divine proportion, divine section, golden
proportion, golden cut, and golden number.

Two quantities a and b are said to be in the golden ratio Φ if:

Architectural Language
 Types of Proportion

Golden Ratio

(a + b)/a = a/b = φ
Take (a + b)/a = a/a + b/a = 1 + b/a = 1 + 1/φ
Then 1 + 1/φ = φ (from the first equation in red)
Therefore 1/φ = φ - 1
Multiply by φ
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Then φ2 - φ - 1 = 0
Quadratic equation whose answer is (1 + √5)/2 = 1.618 = φ

THE GOLDEN NUMBER IS φ=1.618

 Golden ratio

This ratio has been used by mankind for centuries

The Greek Parthenon
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 Golden ratio

This ratio has been used by

mankind for centuries
The Notre Dame De Paris
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 Types of Proportion
Resulting Ratio of each

Fibonacci number Fibonacci

0
number to the

1
1 1.000000000000000
Leonardo Fibonacci discovered the 2 2.000000000000000
sequence which converges on phi. 3 1.500000000000000
In the 1202 AD, Leonardo Fibonacci 5 1.666666666666667
8 1.600000000000000
wrote in his book “Liber Abaci” of a 13 1.625000000000000
simple numerical sequence that is the 21 1.615384615384615
foundation for an incredible 34 1.619047619047619
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55 1.617647058823529
mathematical relationship behind phi. 89 1.618181818181818
Starting with 0 and 1, each new number 144 1.617977528089888
in the sequence is simply the sum of the 233 1.618055555555556
377 1.618025751072961
two before it.
610 1.618037135278515
0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 987 1.618032786885246
233, 377 . . . 1,597 1.618034447821682
2,584 1.618033813400125
 Types of Proportion

Fibonacci Spiral
Architectural Language
Architectural Language
Fibonacci Spiral
Architectural Language
Fibonacci Spiral
 Types of Proportion

Classical Orders

To the Greeks and Romans of classical antiquity, the

Orders represented in their proportioning of elements the
perfect expression of beauty and harmony.
- The basic unit of dimension was the diameter of the
column.
Architectural Language

- From this module were derived the dimensions of the

shaft, the capital, as well as the pedestal “ base of
column” below and the entablature above “ upper
parts”, down to the smallest detail.
- The sizes of columns varied according to the extent of a
building.
 Types of Proportion

The Modular: (Le Corbusier)

Le Corbusier developed his proportioning

system, the Modular, to order the
dimensions. He saw the measuring tools of
the Greeks, Egyptians, and other high
civilisations as being "infinitely rich and
accurate because they formed part of the
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mathematics of the human body, the source

of that harmony which moves us to beauty.
He therefore based his measuring tool, the
Modular, on both mathematics (the aesthetic
dimensions of the Golden Section and the
Fibonacci Series),and the proportions of the
human body (functional dimensions).
 Types of Proportion

The Modular: (Le Corbusier)

The basic grid consist of three measures, 113,70, and 43 cm, proportioned according to the
Golden Section. 43+ 70= 113, 113 +70=183, 113 +70+43 =226 (2x113)
113, 183, and 226 define the space occupied by the human figure. From 113 and 226
Le Corbusier developed
the Red and Blue„ series,
diminishing scales of
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dimensions that were

related to the stature of
the human figure.
Red: 4, 6, 10, 16, 27, 43, 70, 113,
183, 296, 226 (113*2)
Blue:13 ،20 ،33 ،53 ،86 ،140 ،226 ،
366
 Charles- Edouard Jeanneret “Le Corbusier”

WATCH
Villa Savoye’s :
Link

Le Corbusier Biography:
Link
Architectural Language

Le Corbusier (Swiss/French b. 1887 d. 1965) was undoubtedly one of the

most influential architects of the 20th century. His Five Points of
Architecture challenged previous methodologies of designing, namely the
Beaux Arts tradition, and reshaped the built environment. These five
points included the piloti, ribbon window, free plan, free fa.ade, and roof
garden. This approach to architecture was formalized in many of his
residential designs. He is not only credited with designing some of the
most important buildings of the 20th century, but also for influencing the
instruction and curriculum of countless architecture schools around the
world. His paintings and sculptures were equally renowned and respected.
 Developing my design style
TITLE: Things I like “The Images Folder”
OBJECTIVE: first step to developing your own style

INSPIRATION: A2 - The Images Folder

This assignment provides you with an opportunity to collect images of

Professionals create their own image folders in a variety of ways: things that you like, find interesting, or are curious about. Build a digital
folder of images of spaces, materials, and construction techniques to
- New York architects Tod Williams and Billie Tsien include on influence and inspire your design work. In developing your image folder,
ask yourself not only what you like, but why you like it. Try to boil it down to

their website a link to a section called “things”; representing a a single idea. Use the following representation categories as a guide to
help you maintain a variety of drawing examples:

collection of images and objects that inspire them. • plans

• sections
• elevations
www.twbta.com • axonometrics.
• one-point, two-point, and
• three-point perspectives
- We began as a platform to collect and spread the most • freehand sketches
• ink drawings
• graphite drawings
important information for architects seeking to build a nicest • computer drawings
• renderings
Architectural Language

world. Today, we are an ever-evolving tool for anybody who • physical models.
Collect any image related to drawing and representation that is

has a passion and determination to shape the world around aesthetically appealing to you. These images will be a resource and
inspiration for your own designs. The focus of the assignment is on

them. www.archdaily.com representation. Take images from websites dedicated to architects, interior
designers, furniture, lighting, accessories, buildings, materials, etc…
Include the source of each image. By recording this data, you will discover
- Find the very best in products, brands, retailers, expertise and which designs most appeal to you. Keep your images in a clearly organised
file using a software of your choice. It is important that you expand your
inspiration for architecture and design. www.architonic.com/en knowledge of representational methods. By seeing what others have done
before you, you can learn to develop your own style.
- www.dornob.com/
- www.houzz.com
ASSIGNMENT
 Types of Proportion READ THIS

Anthropometrics Bodyspace A n t h r o p o m e t r y,
Ergonomics and the Design of Work
Link
Anthropometry is the science that studies the human
physical dimensions, capabilities, and limitations. Applied Human Factors in Residential
Architectural Design
Link

The term is originated from Greek:

Anthropos Metron
Architectural Language

Human Measure READ

 Types of Proportion

Anthropometrics

Physiological capabilities of people differ from each other. From infancy to adulthood and
elderly, physiological capabilities change.
Physiological capabilities also vary by gender and race.
Architectural Language
 Types of Proportion

Anthropometrics

Human physical dimensions,

capabilities, and limitations
vary by gender.
Architectural Language
 Types of Proportion
Anthropometrics

Human physical dimensions, capabilities, and limitations vary by race.

Architectural Language

USA Japan Netherlands France

 Types of Proportion

Anthropometrics

- The science of anthropometrics uses data from human dimensions and their ranges of
motion.
- Researchers usually measure subjects from a particular group (older, adult ,females), then
calculate the averages.
- They also study differences between groups (e.g., comparing young women to old ones)
Architectural Language

There are two basic types of human body dimensions:

Structural (static): Include measurements of head, torso, and limbs in standard positions.

Functional (dynamic): Measurements taken in working positions or during movements associated with
certain tasks.
 Types of Proportion
Anthropometrics

Structural (static): Include measurements of

head, torso, and limbs in standard positions.
Architectural Language
 Types of Proportion
Anthropometrics
Functional (dynamic): Measurements taken in working positions or during movements associated with
certain tasks.
Architectural Language
 Types of Proportion READ THIS
Ergonomics
Ergonomics and Designing of Interior
and Exterior Spaces
Link
Ergonomics focuses more specifically on people and
machines. Human dimensions and Interior
Space
Link
Similarly, this term is also originated from Greek:

ergon + nomos
work natural laws
Architectural Language

Ergonomics is a science, which is concerned with the

physical and psychological relationship between machines
and the people who use them.

READ
 Types of Proportion

Ergonomics

The main objective of ergonomic studies is adapting design for the human use. While
designing objects, people’s capabilities and limitations are taken into account. This helps to
ensure that the product is fit for use by the target users. Ergonomic studies also searched to
find ways to keep people safe, comfortable, and productive while they perform tasks at
work and home.
Architectural Language

Therefore, the goal of ergonomics is to design equipment, tools,

and the environment to maximise productivity ,efficiency, safety
and comfort by reducing worker fatigue, stress, accident and
discomfort.
 Types of Proportion
Ergonomics

Ergonomics deals with different design

scales varying from the design of work
areas (including office furniture,
automobile interiors, and aircraft cockpits
etc. ), to the disposition of switches and
gauges on the control panels of machinery
to determining the size, shape, and layout
Architectural Language

of keys on computer terminals and

character height, color, and clarity on video
displays. That’s why the field of
ergonomics is also called human-factors
engineering, engineering psychology and
biotechnology.
 Models as Presentations Practicalities
Questions to ask yourself:
Drawings and models are both abstract representations: they - What material should I use?
- How can I successfully abstract real
provide methods for expressing architectural ideas and building materials?
- At what scale are the materials to be
concepts. Drawings are typically constructed on two- depicted?
- Is the whole model made out of the
dimensional surfaces, while models provide a three- same material?
- At what scale should I make the
dimensional abstraction of space and form. model?
- What do I want to show?

Remember, entourage can be included to

demonstrate scale in a model.
Architectural Language

TIP
 Models as Presentations Types
Study models There are different types of models:
1- Site connection models
The study model is a type of model meant for the assessment 2- Detailed models
3- Topographic models
of ideas. These models can be manipulated and remade 4- Massing models
5- Parasitic models
quickly. They provide opportunities for discovery, 6- Presentation models
7- Circulation models
inspiration, and investigation. You should consider these 8- Study models
9- Interior layout models
types of models as developmental and not final renditions of 10- ETC…

the idea; they are part of the iterative design process.

Therefore, you should feel comfortable manipulating and
molding these models. Don’t be afraid to rip them apart to
Architectural Language

test different ideas.

TIP
 Models as Presentations
Modeling Materials:
Models do not have to be made from a single material. Using two materials can distinguish
between existing and new, or between materials.

Combining materials:
The plexiglass depicts the existing house while the
basswood is used to depict the house addition. The
plexiglass allows the connectivity between the two
wood masses to be seen.
Architectural Language

Chipboard Basswood Modeling clay Museum board Foamcore Plexiglass Cork Styrene Corrugated board
Pros: no grain, easy to Pros: grain can Pros: good for carving Pros: easy to cut, no Pros: for making large Pros: provides a Pros: comes in rolls Pros: highly-polished Pros: affordable and
cut, cheap, consistent e m p h a s i z e and landscape models grain, comes in big scale models, comes in transparent material and sheets, looks smooth surface ideal accessible material,
color and material directionality of Cons: dries out quickly, sheets a variety of thicknesses allowing interior views, finished, easy to cut, as a mold for casting can use boxes and
throughout, comes in materials, more refined messy, imprecise Cons: hard to keep Cons: not consistent can model curtain wall used as contours or plaster; comes in a other packing material
different look, easy to cut, clean, not always material throughout, easily landscape variety of sheet sizes Cons: quality of
thicknesses, comes in comes in sticks, consistent material need to adjust edges Cons: difficult to cut, Cons: expensive Cons: more expensive material is rarely
large sheets sheets, and blocks throughout, more when joining pieces especially holes in the than basswood s u f fi c i e n t f o r fi n a l
Cons: doesn’t look as Cons: has grain, sheet expensive than together middle; transparency is presentation models;
r e fi n e d , slight size is limited, costs chipboard s o m e t i m e s must consider exposed
variations in color more than chipboard misunderstood edges in model
 Modular Construct
TITLE: The Modular Construct
OBJECTIVE: your first model

A3 - The Modular Construct

You are asked to make a modular construct consisting of strips. The

number and size of strips is dependent on your design. The pieces can
only be placed horizontally or vertically, and fixed on a gridded 1x1cm
board sized 30x30 cm. All pieces must follow the grid of the base and not
overhang it. To achieve your design, you must research, understand a
proportional system, work it through and implement it using the stripes.

I suggest that you get your strips from brown carton boxes found in
supermarkets and grocery stores. Use a cutter and a steel ruler to cut out
the pieces accurately. They can be fixed to each other at right angles, in
places, either by cutting half notches out of the opposite sides or by gluing
or taping them together. All pieces must align with the grid on the base
board.
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Strip
ASSIGNMENT
 MultiView Presentation

Types of Projection
A projection is a drawing of an object which is three dimensional on a two dimensional
surface or plane. The two dimensional surface used for the projection is called plane of
projection or the picture plane.
Projection methods are broadly classified into two: Parallel projection and Central projection.
In central projection, the observer is assumed to be located at some finite location. The visual rays
projected from the different corners of the object converge to the single point of viewing. Central
projection is commonly called Perspective projection.
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 MultiView Presentation

Parallel projection is further classified into orthographic and oblique projection. If the lines of
sight are parallel to each other and perpendicular to the picture plane, the resulting projection is called
an ortho-graphic projection.
If the lines of sight are parallel to each other but inclined to the picture plane, the resulting projection
is called an oblique projection.
Ortho-graphic projection is further classified into multi-view projection and axonometric projection.
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 MultiView Presentation
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 MultiView Presentation
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 MultiView Presentation

Multiview drawing is a technique used by drafters and designers to depict a three-

dimensional object (an object having height, width and depth) as a group of related two-
dimensional (having only width and height, or width and depth) views. A person trained in
interpreting multiview drawings, can visualize an object’s three-dimensional shape by
studying the two-dimensional multiview drawings of the object.
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 MultiView Presentation
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 MultiView Presentation

Frontal Projection Plane

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 MultiView Presentation

Horizontal Projection Plane

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 MultiView Presentation

Profile (side) Projection Plane

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 MultiView Presentation

Orthographic Projection
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 MultiView Presentation

Glass Box Technique

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 MultiView Presentation

Glass Box Cut

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 MultiView Presentation

The Six multi views

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 MultiView Presentation

EXAMPLE
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 MultiView Presentation

EXAMPLE
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 MultiView Presentation
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 MultiView Presentation
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 MultiView Presentation
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 MultiView Presentation
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MultiView EXERCISES
 EXERCISE - E1
TITLE: Orthographic Projection Multi Views
OBJECTIVE: 2D orthographic projection drawings

E1 - Multi-View Orthographic Projections

Extract the six views of the given isometric shapes using orthographic
projections and then presenting the views using the open glass box
method and by using the proper line weights and symbols.
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EXERCISE
 Frank Lloyd Wright

WATCH
Frank Lloyd Wright's architectural vision:
Link

Frank Lloyd Wright Through His Works:

Link
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Frank Lloyd Wright (American, b. 1867 d. 1959) is one of

America’s most recognizable architects. His buildings are
characterized by flowing spaces and a rich palette of natural
materials such as brick, stone, wood, and glass. His early houses,
known as “Prairie Style,” were organized around the hearth,
both symbolically and spatially. Wright later designed a series of
houses, known as the Usonian Houses, that he hoped would
create an affordable, democratic, distinctively American house
type. Wright’s important works include not only residences, but
also churches and temples, office buildings, and museums.
 Axonometric Drawings

Axonometric means to measure along axes.

Axonometric projection shows an image of an object as
viewed from a skew direction in order to reveal more
than one side in the same picture.
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Oblique projection is created by drawing one side of

the object facing the observer. This side is always drawn
as a true shape
 Axonometric Drawings

Axonometric projection is a type of orthographic projection, used

to create a pictorial drawing of an object, where the object is
rotated along one or more of its axes relative to the plane of
projection.
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Plane of Projection
 Axonometric Drawings

Isometric drawing is a form of 3D drawing, which is set

out using 45-degree angles. It is a type of axonometric
drawing so the same scale is used for every axis, resulting
in a non-distorted image.
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45o 45o
 Axonometric Drawings

Dimetric projection is an axonometric projection of an

object placed in such a way that two of its axes make equal
angles with the plane of projection.
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15o 15o
 Axonometric Drawings

Trimetric projection is an axonometric projection of an

object placed in such a way that two of its axes make
different angles with the plane of projection.
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15o 45o
 Modular Construct: orthographic and axonometric
TITLE: The Modular Construct: Orthographic drawings and
Axonometric
OBJECTIVE: Represent your model

A4 - The Modular Construct: Orthographic’s and Axonometric’s

On an A3 (42cm x 29.7cm) sized paper, you are asked to:

1- Represent your modular construct using 2D orthographic projections of
the six views that comprise your model. Use the Open Glass Box
technique to present your model in 2D drawings.

2- Represent your model as a 3D Axonometric drawing. Draw an Isometric

(45o-45o) of your model to scale.

Note that you have to use line symbols and line weights to present your
drawings as discussed in class. Also work on your presentation paper
layout.

Assignment Due: Sat April 16 - 2022 in class

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ASSIGNMENT
 Modular Construct: orthographic and axonometric
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 Modular Construct: orthographic and axonometric
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 Stake Holders

Who is your audience?

Depending on the audience to whom you are presenting

your ideas, different types of drawings must be produced.
Through representations you must convey your ides and
intentions. There are four main audience groups:
1- your fellow professionals
2- the architect (engineer), the builder and the contractor
3- the client
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4- the user

Presenting your ideas can be made using the full

spectrum of presentation techniques: freehand and
hardline, conceptual and realistic and using all the
drawing techniques.
 Bubble Diagrams
Good designers find it hard to "think without a pencil"
and "must interact with the drawing".
- They play an important role in design practice.
- Diagrams are drawn to explore ideas and solutions in
the early, conceptual phases of design.
- They are used to help designers think about design
parameters
- They are a fast way to record ideas.
- A diagram omits detailed scale or realistic pictorial
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representations.
- it indicates spatial relationships, using indefinite
shapes.
- For example, a diagram may represent functional
spaces in a floor plan as crude ‘bubbles’, showing
only: sizes, adjacencies, containment and connections
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Bubble Diagrams
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Bubble Diagrams
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Bubble Diagrams
 EXERCISE - E2
TITLE: Bubble Diagram
OBJECTIVE: Simplifying design
SKETCH BUBBLE DIAGRAMS OF YOUR OWN HOME E2 - Existing Bubble Diagram

Each of you is asked to look carefully at the organisation of your apartment

and come up with a TWO bubble diagrams:

1- Think about how the rooms are laid out in your home. 1- The first bubble diagram must show the relationships between the
different rooms.

Overall, is your home long and narrow or shaped more like a 2- The second bubble diagram must show a list of functions conducted in
each room.

square? 3- Choose on of your class mates and exchange your bubble diagrams.
Compare your bubble diagram with your class mates’s bubble diagram and

2- Using the entire sheet of blank paper, sketch a bubble diagram write down your observations

of your home. In your diagram, each bubble you sketch should: -

represent a different room or space - be drawn quickly in a
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smooth freehand motion - be roughly oval in shape - touch

another bubble at an edge, to show adjacent rooms Don’t worry
too much about the exact sizes of these bubbles, but you should
pay attention to the proportion of each bubble (space) and how
it fits into the overall building.
3- Label each bubble with the name of the room or space. If more
than one activity happens in a single space, make a note of that. EXERCISE
 CONCEPT
Generating
Purely functional solutions to problems often lead to the Ideas
design of buildings, not architecture. When generating ideas - Too many ideas do not make a
better project.
about possible architecture solutions to a given problem, - Simplify your ideas; simple does not
mean boring.
consider both the functional and the artistic/spiritual - Represent your ideas graphically.
aspects.

A concept is a generating tool; it is a way to organise the

component parts of the project under a single idea. There are
many ways to arrive at a concept. There are formal
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approaches, tectonic approaches, intuitive approaches,

analytical approaches, narrative and metaphorical
approaches, and site responses, etc… You can derive
architectural concepts from just about anything, whatever
works for you.
TIP
 CONCEPT
Documenting
You can start developing a conceptual idea by asking thoughts
questions. Start with what you know—program and site. Recording your ideas is a vital part of
the design process. Brainstorming can
Analyse these to understand what each might mean for the generate a series of ideas and sketches
that lead you to other investigations.
given project. Then ask the question: “what is important and Recorded images allow you to react
visually to a concept. Do not limit
why?”. your conceptualisation process to just
words or images—use both.

Design does not occur in vacuum. Ideas can be generated

from other projects. Understand that ideas are not sacred;
that is, similar ideas can be copied from other architects and
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buildings.
These ideas can then be translated into your own design. The
key to borrowing ideas in architecture is to translate them
and make them your own. Learn from precedents and apply
your own design sensibilities to the knowledge you have

TIP
gained.
 CONCEPT
Iterative
When trying to arrive at a conceptual idea, it is helpful to try Process
to think physically about the idea. You should sketch the Once you have a conceptual idea, you
need to develop it into architectural
idea, model it, or draw it. It’s important to remember that the forms and spaces, details and
materials, circulation and experience.
idea is not the architecture— it provides a way to arrive at the The process of design is one of
iteration; that is, a repetitive process of
architecture. development that changes over time.

Each successive iteration builds on the

lessons from the previous one. The
Research is a vital component of the design process. It iterative process emphasises an
exploration of several options before
provides you with a more in-depth understanding of a settling on one single manifestation of
a project. Through an iterative process
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project. Research can involve a number of possible of problem solving, you will be
graphically and theoretically testing
potential design solutions. In every
investigation methods. phase of the process, ask yourself why
—Why that form? Why that space?
Why that location?
You can research the history of the building type, the history of the
site, contemporary versions of the building type, or even similar-
scale buildings with a different program. You can also research the
program itself. TIP
 CONCEPT

A concept is an idea. In architecture, a concept is ‘an approach’ to the design. When we think
of an architectural concept, we think of an abstract idea, one that can evolve as the design
grows.

Architectural concepts are the designers way of responding to the design situation presented
to them. They are a means of translating the non-physical design problem into the physical
building product.
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There are several areas the designer may focus on at the early stages of design that will
begin to inform the concept and direction. These areas may be drawn upon throughout the
project, weaved into one another, as the project develops. The approaches can be categorised
as: Functional, Material, Contextual, Formal, Collaborative, Philosophical
 CONCEPT
You could investigate some of the following statements:
- artistic vs. scientific
- rational vs. irrational
- personal vs. universal
- visual vs. non visual
- needs vs. wants
- ordered vs. random
- structured vs. unstructured
- objective vs. subjective
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- one answer vs. multiple solutions

- creative vs. conservative
- specific vs. general
- man vs. nature
- complexity vs. simplicity
- design for now vs. design for the future
- patterned process vs. random process
 CONCEPT

HOW
Carrying out in depth research relating to your design problems will inspire you and help
you discover solutions. You can study how issues have been solved in other designs, and
how they might direct you with your own.

Explore the information you have collected and break it down into areas that have meaning
to you. Consider the problems, the influences, the context. What are the limitations? What
are the opportunities? Consider the different approaches and look at which ones would have
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relevance and meaning to your project.

Your concepts and solutions will begin to build as you explore the different factors required
in your design and the values and ideas you can come up with.
 CONCEPT

Conceptualising an idea
Imagine being asked to design a pencil holder without any further design parameters.
Here’s a possible method of conceptualising the idea:
- Research the pencil (ask the pencil what it wants to be).
- Consider how many pencils will be held.
- Analyse precedents—what form do other pencil holders take; what questions do they
answer? By looking at precedent you can think about what questions the previous
designer asked and answered.
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- Study the hand—this is the one element that will be interacting with the pencil.
- Consider the ergonomic relationships of the hand to pencil when removing it from the
holder.
- Ask: how long are the pencils? How thick? How heavy?
- Think how you can organise the space related to each pencil. How do you want the pencils
to sit: vertical? horizontal? What material to use?
- Investigate form relative to the given pencil.
 EXERCISE - E3
TITLE: Pen Holder
OBJECTIVE: Conceptualise

The Pen Holder E3 - Conceptualising a pen holder

Each of you is asked to design a pen holder. Start your concept process by
answering the following questions:
1-Research the pen (ask the pen what it wants to be).
2- Consider how many pens will be held.
3- Analyse precedents—what form do other pen holders take; what
questions do they answer? By looking at precedent you can think about
what questions the previous designer asked and answered.
4- Study the hand—this is the one element that will be interacting with the
pen.
5-Consider the ergonomic relationships of the hand to pen when removing
it from the holder.
6- Ask: how long are the pens? How thick? How heavy?
7- Think how you can organise the space related to each pen. How do you
want the pens to sit: vertical? horizontal? What material to use?
8- Investigate form relative to the given pen.
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Outcomes:
1- Present your research findings on an A2 sized paper
2- Present your design in orthographic and axonometric drawings on an A3
sized paper.

EXERCISE
 Orthographic Drawings
Plans, sections, and elevations, known also as orthographic projections, are some of the most
fundamental tools of representation. They are two-dimensional abstractions that convey
both horizontal and vertical information. They have strong relationships to one another and
the representations of such drawings can facilitate a clearer understanding of a project.

The successful understanding and implementation of these skills is fundamental to

communicating with different audiences, including the builder, the client, the community,
and other architects.
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Orthographic projections are abstract drawings that do not represent objects as we see them.
Because orthographic projections lack the three-dimensional qualities of perception, they
have none of the distortion that we see in real life. The method and construction of
orthographic projection can reinforce the design ideas of the architect. Since it is difficult to
convey a project in a single drawing, multiple drawings or orthographic sets are used to
present a more complete picture.
 PLAN, Section and Elevation
A compilation of two-dimensional orthographic drawings can describe the space of a three-
dimensional object. There are three drawing types that make up the collection of
orthographic (90°) projections: plan, section, and elevation.

PLAN:
A plan is a horizontal cut through
an object, building, or space,
typically directed downwards.
Imagine the cut as a plane, parallel
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to the ground plane, intersecting a

building or object. The cut is drawn
using appropriate line weights, but
is always rendered as the darkest
element in the drawing. There are a
number of types of plan drawings.
 PLAN, Section and Elevation

Floor Plans
A floor plan represents a section of a building as it would appear
if cut through by a horizontal plane with the upper portion
removed. The floor plan is an orthographic projection of the
portion that remains.
• Floor plans typically show the configuration of walls and
columns, the shape and dimensions of spaces, the pattern of
window and door openings, and the connections between
spaces as well as between inside and outside.
• The plane of the horizontal cut is usually located about 1.6
meters above the floor, but this height can vary according to
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the nature of the building design.

• The horizontal section cuts through all walls and columns, as
well as through all door and most window openings.
• Beyond the plane of the cut, we see the floor, counters,
tabletops, and similar horizontal surfaces.
• We use a north arrow to indicate the orientation of a floor
plan. The normal convention is to orient floor plans with
north facing up or upward on the drawing sheet.
 PLAN, Section and Elevation
Critical to the reading of a floor plan is the ability to
distinguish between solid matter and spatial void, and to
differentiate the cut material from what we can see through
space below the plane of the cut. To convey depth in a floor
plan, we can use a hierarchy of line weights.
- The heaviest line weight profiles the plan shapes of cut
elements.
- Intermediate line weights define edges of horizontal
surfaces that lie below the plane of the plan cut but above
the floor. The farther away a horizontal surface is from the
plane of the plan cut, the lighter the line weight.
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- The lightest line weights represent surface lines. These

lines do not signify any change in form; they simply
represent the visual pattern or texture of the floor plane
and other horizontal surfaces.
- Drawing scale influences the range of line weights
that one can use to convey spatial depth. Small scale
drawings use a tighter range of line weights than do large-
scale drawings.
 PLAN, Section and Elevation
Poche" and spatial Depth: We can emphasize the shape of
cut elements with a tonal value that contrasts with the spatial
field of the floor plan. We refer to this darkening of cut walls,
columns, and other solid matter as poché.
- Poché establishes a figure-ground relationship between
solid matter and spatial void.
- If such plan elements as flooring patterns and furniture
give the field of the drawing a tonal value, a dark gray or
black tone may be necessary to produce the desired degree
of contrast between solid matter and spatial void.
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 PLAN, Section and Elevation
Doors and Windows

We are not able to show the appearance of doors in a plan

view. For this information, we must rely on elevations. What
a floor plan shows is the location and width of door
openings, and to a limited degree, the door jambs and type of
door operation—whether a door swings, slides, or folds
open.

As with doors, we cannot show the appearance of windows

in a plan view. A floor plan does disclose the location and
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width of window openings, and to a limited degree the

presence of window jambs.
- Windowsills are not cut through in a floor plan. They
should therefore be drawn with a lighter line weight than
walls, window mullions, and other cut elements.
- The operation of a window is usually indicated in an
elevation drawing.
 PLAN, Section and Elevation
Stairs

Plan views can show the run of a stairway— its horizontal treads and
landings—but not the height of the vertical risers.
- The path of travel terminates where the stairway passes through the
plane of the plan cut.
- Use a diagonal line to indicate this cut and to more clearly distinguish it
from the parallel lines of the stair treads.
- An arrow specifies the direction up or down from the level of the floor
plan.
- Show detail such as handrails and toe spaces where the scale of a
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drawing permits.
- Dashed lines indicate major architectural features that occur above the
plane of the plan cut, such as lofts, lowered ceilings, exposed beams,
skylights, and roof overhangs. Dashed lines may also reveal the hidden
lines of features concealed from view by other opaque elements.
- The common convention is to use long dashes to signify elements that
are removed or above the plane of the plan cut, and shorter dashes or
dots for hidden elements below the plan cut.
 PLAN, Section and Elevation
Reflected Ceiling Plan

A ceiling plan is a plan of a room as seen from above but having its
ceiling surfaces and elements projected downward upon it. For this
reason, we usually call this view a reflected ceiling plan. reflected ceiling
plans
- A reflected ceiling plan has the same orientation as the floor plan to
which it relates.
- Ceiling plans show such information as the form and material of a
ceiling, the location and type of lighting fixtures, exposed structural
members or mechanical ductwork, as well as skylights or other
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openings in the ceiling.

- We typically draw a ceiling plan at the same scale as the floor plan. As
with floor plans, it is important to profile all vertical elements that rise
to meet the ceiling.
 PLAN, Section and Elevation

SECTION

A section is an orthographic projection of an object as it would appear if

cut through by an intersecting plane. It opens up the object to reveal its
internal material, composition, or assembly. In theory, the plane of the
section cut may have any orientation. But in order to distinguish a section
drawing from a floor plan—the other type of drawing that involves a
slice—we usually assume the plane of the cut for a section is vertical. As
with other orthographic projections, all planes parallel to the picture
plane maintain their true size, shape, and proportions.
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We use section drawings to design and communicate the details of a

building’s construction as well as the assembly of furniture and cabinetry.
the building section is the best drawing for revealing and studying the
relationship between the floors, walls, and roof structure of a building
and the dimensions and vertical scale of the spaces defined by these
elements.
 PLAN, Section and Elevation

A building section represents a vertical section of a building. After a

vertical plane slices through the construction, we remove one of the parts.
The building section is an orthographic projection of the portion that
remains, cast onto a vertical picture plane parallel or coincident with the
cutting plane.
• Building sections reveal the shape and vertical scale of interior spaces,
the impact of window and door openings on these spaces, and the
vertical connections between the internal spaces as well as between
inside and outside.
• Beyond the plane of the cut, we see elevations of interior walls, as well
as objects and events that occur in front of them but behind the vertical
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plane of the section cut.

• The conventional symbol for indicating the location of the section cut
in a plan drawing is a broken line of long segments separated by short
dashes or dots.
• It is not necessary to draw this section line across an entire floor plan,
but it should at least overlap the exterior boundaries of the building.
• An arrow at the end of each line points in the direction of view.
 PLAN, Section and Elevation
Building sections should be cut in a continuous manner, parallel to a
major set of walls. Use jogs or offsets in the cutting plane only when
necessary.
• For buildings having a symmetrical plan, the logical location for a
section cut is along the axis of symmetry.
• In all other situations, cut building sections through the most
significant spaces and look in a direction that reveals the principal
features of the spaces.
• A single section is usually not sufficient to illustrate these qualities
unless a building is extremely simple. Remember, too, that the building
section is only part of a series of related orthographic views.
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 PLAN, Section and Elevation
As with floor plans, it is critical to distinguish between
solid matter and spatial void and to distinguish where
mass meets space in a building section.
• The heaviest line weight profiles the shapes of
elements cut in the section.
• Intermediate line weights define those elements that
are seen in elevation beyond the section cut. The
farther back an element is from the plane of the section
cut, the lighter their profile should be.
• The lightest line weights represent surface lines. They
simply represent the visual pattern or texture of wall
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planes and other vertical surfaces parallel to the

picture plane.
 PLAN, Section and Elevation
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 PLAN, Section and Elevation
Scale and Detail
• Building sections are normally drawn at a scale
of 1:50 or 1:20
• Including human figures in section drawings
establishes a sense of scale and reminds us of
patterns of activity and use.
• Larger scales of 1:10 and 1:5 are used only for
detail sections illustrating such conditions as
wall assemblies, corner conditions, and stair
details.
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A general knowledge of how buildings are

constructed is therefore extremely beneficial
when executing large scale sections.
 PLAN, Section and Elevation
Internal Elevations

Interior elevations are orthographic projections of significant interior

walls of a building. While normally included in the drawing of building
sections, they may stand alone to study and present highly detailed
spaces, such as kitchens bathrooms, and stairways. In this case, instead of
profiling the section cut, we emphasise the boundary line of the interior
wall surfaces.
• To orient the viewer, we label each interior elevation according to the
compass direction toward which we look in viewing the wall.
• An alternative method is to key each interior elevation to a compass on
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the floor plan of the room.

 Architectural Diagrams

What is a Diagram?

It is the process of abstracting and simplifying an

idea so that it can be easily understood. It is a
record of physical and spacial features that define
the unique and distinctive features of a building,
site or program.

A Diagram provides a range of different views

and insights to a particular project.
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 Architectural Diagrams
Diagrams facilitate the quick
discovery of alternative
solutions to a problem in early
stages of development

Diagrams does not only

analyse the physical but also
reveal the context, background
and lots more.
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Diagrams make it easier to

understand how some
seemingly unrelated works
can actually be put together
thematically as an inventory of
relevant conditions.
 Architectural Diagrams
Diagrams creation is a method of showing
the design process itself. Visual language
is the medium between thought and
reality as sketches and diagrams represent
and reflect what the designer wants them
to reflect.

Diagrams are not only a visual

presentation but also a method of solving
problems.
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Diagramming plays an important role in

the entire design process, starting from
basic bubble diagrams to different
architectural aspects of design.

Diagrams are used as communication

tools and they can be used as a way of
testing different concepts.
 Architectural Diagrams
One of the reasons we do diagrams is that architectural drawings can be hard for the public and clients to understand, so
we use diagrams to explain the most important parts of the “Concept” using simple drawings that everyone can get
easily, and by removing all the other details that can make the concept harder to understand.
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 Architectural Diagrams
There are no rules regarding diagrams. They should be done in whichever manner the
architect or interior designer thinks the idea or design decision would communicate more
clearly.

There are many types of diagrams:

- Bubble diagrams - Topology diagrams

- Conceptual diagrams - Circulation diagrams
- Program diagrams - Parametric diagrams
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- Context diagrams - Plan diagrams

- Structure diagrams - Mass diagrams
- Axonometric diagrams - Geometric diagrams
- Scale diagrams - Illustrations
- Activity diagrams - Sketches
- Emotional diagrams - Collages
 Architectural Diagrams
Bubble Diagrams:
They are free hand diagrammatic drawings made by architects to be used for space planning
and organisation at the beginning of the design process.
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 Architectural Diagrams
Conceptual Diagrams:
They show the process or the sequence of finding the concept through specific steps, and
they help people to understand what leads to the final idea. They can be seen as a starting
step which is later manipulated, adjusted and modified till the actual design emerges out.
Architectural Language
 Architectural Diagrams
Program Diagrams:
They define the different functions and areas (spaces) that will be contained in a project. They
refer to the layout of a project in terms of program and usage and may be used to visualise
how the program relates to the building form.
Architectural Language
 Architectural Diagrams

Context Diagrams:
They show or analyse the context and
background of a project such as site
analysis diagrams. These diagrams
become crucial in the design process as
they help in happing the design, its
placement and spatial arrangement.
They also show how the building
Architectural Language

responds to the environment such as

wind-flow, sun movement and
shadows.
 Architectural Diagrams

Context Diagrams:
Architectural Language
 Architectural Diagrams
Structure Diagrams:
They illustrate the structural elements in a project in relation to the overall form of the
building. They are generally shown as axonometric diagrams of the structural elements of a
building.
Architectural Language
 Architectural Diagrams
Axonometric Diagrams:
Not only when you want to represent an idea about the external part of a building,
axonometric diagrams use also the exploded view and section technique to explain
architectural or spatial concepts as seen in parallel projection.
Architectural Language
 Architectural Diagrams
Scale Diagrams:
They are related to scale of a design. They are associated with a building form belonging to
the human scale, or showing the size of a project using a measurement or compared to other
building forms.
Architectural Language
 Architectural Diagrams

Activity Diagrams:
They illustrate and show activities held in spaces.
Architectural Language
 Architectural Diagrams
Emotional Diagrams:
They relate to the human senses and emotions, either their sensory or experiential aspects of
the design concept which user would perceive by his senses such as touching, smelling, etc…
Architectural Language
 Architectural Diagrams
Topological Diagrams:
They define the different types, possibilities or relationships between the elements of the
design concept.
Architectural Language
 Architectural Diagrams
Circulation Diagrams:
They are representation of the flow of the users in the project. The sequence of movement is
illustrated with the help of lines and arrows. This helps designers in understanding the
different types of space requirements and their interrelationships and hierarchies
Architectural Language
 Architectural Diagrams
Circulation Diagrams:
Architectural Language
 Architectural Diagrams
Plan Diagrams:
They focus on the spatial properties of a project. It can analyse the whole plan approach or a
specific part of the plan solution or places hierarchy and space organisation.
Architectural Language
 Architectural Diagrams
Mass Diagrams:
They show how the mass of the project according to
what conditions was formed.
Architectural Language
 Architectural Diagrams
Geometric Diagrams:
They show the geometric formation of a project or a building, the ratios and proportions or
any other geometry related properties.
Architectural Language
 Architectural Diagrams
Illustrations:
They show specific meanings or parts from your project to communicate a message.
Architectural Language
 Architectural Diagrams
Illustrations:
Architectural Language
 Precedent Study READ THIS

Precedent definition: An earlier occurrence of something Architecture Precedent Study and

Analysis
similar. Link

Precedents in Architecture: Analytic

Do not confuse it with President or Precedence (rank) Diagrams Formative Ideas and Partis:
Link

Precedents are used widely in architecture practice and

Some precedents to look at:
you will be referring to precedents during your studies Link
and in your future career. Anything can be regarded as a
Architectural Language

precedent. Buildings, interiors, details, materials,

concepts, etc. can all be regarded as precedents to be
considered as examples when designing. Note that
precedents are not to be copied but they are used as an
inspiration to inform design proposals.

READ
 Precedent Study READ THIS

The study of architectural precedents, in an academic

The Ultimate Guide to Precedent
setting and in practice, is a form of research through Studies in Architecture:
which we learn about theories, processes, and strategies that Link

can be referenced or reinterpreted in our own work.

Carefully selected precedents can teach us how to solve How to Present Architectural Case
Studies like a Pro:
specific problems; perhaps how to organise a plan, develop a Link

detail, think about relationships between types of spaces, or

develop a strategy for relating a building to its site.
Architectural Language

Through research and analysis we discover how other

architects have addressed issues of site, program, material,
or spatial relationships in the particular context of their time
and place. Precedent study also refines analytical and
graphic communication skills.
WATCH
 Precedent Study
Precedents
You need to dedicate time to researching and studying a
precedent. A thorough analysis of its significant features
(form, structure, scale, materials, aesthetics, details, light, Precedent Study in Architecture:

etc.) is necessary if you want to understand its relevance Link

in the context of your proposals.

Precedent Study in Interior Design:

You will use any photographs and drawings gathered in Link

order to fully understand all aspects of the precedent that

Architectural Language

you are focusing on. You will need to be able to explain why
specific aspects of a precedent are a relevant inspiration to
inform your proposal and communicate how these will be
integrated in your design.

TIP
 Precedent Study

The use of a precedent cannot be justified through saying: ‘because it looks nice’ but its
choice needs to be carefully substantiated. Why does it look nice? Which of its aspects is
relevant to your proposal? How is it built? What was the designer’s intention? You will need
to answer a number of these questions in order to substantiate the relevance of a precedent
in relation to your proposals.

A visual study of a precedent is therefore

required to make your proposal credible. If this
is a building or an interior space, you will have
Architectural Language

to gather photographs and produce diagrams

and sketches in plan, section and elevation to
show your understanding of how this works.
You need to identify its spatial relationships,
look for its specific spatial proportions, study its
exact measurements, understand its details, etc.
 Precedent Study
Research
Requirements: topics
Research: • Cultural, historical and physical
context (why was this building
Process: Depending upon your precedent, research sources built? Why here?)
• Site conditions and/or constraints
may include books, journals, internet sources such as • Client
• Program (building requirements)
architects’ websites. • Architect’s intent
• Architectural issues specific to this
• Drawings: Find site plan, plans, sections, elevations, building/site/program
• Sustainability
axonometrics, details, and other technical drawings, • Type of construction, materials and
systems, details
especially drawings with a graphic scale so you can • Additional research materials that
may be necessary to understand
determine the dimensions of the building.
Architectural Language

and explain a specific issue,

construction type, technology, etc.
• Collect photographs: photos will be incorporated into
your final research presentation and will also assist in
understanding the building.

TIP
 Precedent Study

Analysis topics to be addressed include but are not limited to:

Context Organization
• Relationship to site, to the ground • Geometry

• Interior/exterior relationships • Program elements vs circulation or

• Cultural/historical context open space

• Ordering system (grid, radial, etc.)
Space/defining elements
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• Positive/negative spaces • Sequence of spaces

• Solid/void Structure and material

• Open/closed • Structure

• Linear, planar, volumetric • Enclosure

• Materials
 Architectural Element Design
By designing a single architectural element you will become aware of the many design
decisions involved in each component part of the element and in the relationships of those
component parts in creating the overall project.

Getting Started:
Designs are not created in a vacuum. Ideas, inspirations, and responses can be drawn from the
existing conditions on the site of the project. The various scales of the existing conditions can be
investigated. That is, a site might be a room within a building, within a neighbourhood,
Architectural Language

within a district, or within a city. Each of these existing conditions can influence the design.
The existing conditions can also expand to neighbouring sites, context, and histories. Always
consider what is around the site, not just the physical elements like buildings, trees, open space, and
transportation networks, but the cultural ones as well. The existing conditions, along with the
rules of the program need to be considered when brainstorming the project.
 Architectural Element Design: The Opening
Precedent Research:
Typological precedents—those designs that have come before with the same program— are
excellent places to start your research. What they bring to the design process is intuitive and
limited by personal experience. To broaden your knowledge base, familiarise yourself with
historical precedents and the meanings behind the designs.
Architectural Language
 Architectural Element Design: The Opening
Design Problem:
When confronting design issues, it is important to challenge preconceived notions and critically
evaluate the essence of the design problem. Step back from everyday language and think more
conceptually about the problem. The term “opening” as it relates to architecture is used to
define everyday building elements like windows and doors. Opening is an open place or
part, hole, gap, or aperture. From this definition the term “opening” can be disassociated
from the familiar term “window.” When considered abstractly, you can think beyond the
window. Openings are thresholds between two sides. These sides can be unique or similar depending
on the context in which you are operating. Regardless of the type of side, the opening
Architectural Language

participates in both realms simultaneously and independently. The opening affects the
experience of a space depending on its size, shape, material, texture, transparency, and so
forth. Openings are not neutral elements. Even conventional openings make a statement
about their use.
 Design an opening
TITLE: Designing an Architectural Element
You will be examining the nature of an opening in detail by OBJECTIVE: Experiencing the design process

A5 - Designing an Opening
exploring issues of light, ventilation, significance, size, scale, You are asked to design an opening for an existing room. The site is an
existing corner room on the second floor of a building with given
materiality, proportion, privacy, view, point of view, space, place, dimensions and sun orientation.
• The opening(s) can only be placed on the two indicated surfaces, the
security, and control. south and west walls, in the selected areas. Multiple openings can be
located on both walls.
• The ceiling height in each space is different— a dotted line on the plan
indicates where the change in ceiling height takes place. One ceiling

The project involves complex decision-making especially •

height is 3 m and the other is 3.65 m.
A door must be added to the plan along the north wall. Consider the

when each issue is considered as a threshold between one type, size, and method of operating the door relative to the experience of
the user in the room, and its relationship to the opening design.
• The opening can take up to a maximum of 45% of the total surface area
side and another. of the two exterior walls indicated on the plan.
• Each wall has a different thickness.
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• The opening cannot penetrate the roof (no skylights).

• Glass used may be clear, colored, or frosted; you can also use glass
block or other types of specialty glass.

Remember that architecture is not a purely practical discipline. Design

involves creating a narrative that defines the meaning behind the physical
moves of design. Solutions for design should be both practically and
poetically driven.

Assignment Due: Sat June 04 - 2022 in class

ASSIGNMENT
Architectural Language
Design an opening
 Design an opening

Process:
Find three precedent examples that could provide inspiration for your own design. Do not
limit yourself to the preconception that opening = window.

Remember that the process of design is iterative.

1- Evaluate your initial solutions, and redesign based on the clarity of the narrative relative to the
articulation of the idea. 2- Repeat this process over and over again. Understand that the initial
Architectural Language

idea you produce is the generator of the architecture and will be manipulated over time. Your initial
sketches may not look like the final outcome of the project. This is fine; through the iterative
process you will learn to develop your ideas. This takes experience and time. 3- Sketch initial
ideas, including your initial reactions and precedent research, in your sketchbook. Any idea
that comes to mind should be recorded. Do not try to use all of your ideas in one project. Learn to
edit your ideas—too many ideas are just as bad as too few.
 Design an opening
Translate ideas to paper and models:
• Create three study models at 1:50 scale to investigate the conceptual thinking recorded in
your sketchbook. What is the intention of the opening? How does it react to the existing
conditions? Is it about light? What quality of light? If it is about view, what is the nature of
the view? Is it directional? Is it about viewing out at an object or in at those occupying the
space?
• Hardline a plan and section of the room on trace paper without any design elements at
1:50 scale. Use this as an underlay for freehand orthographic sketches.
• Review how to draw glass in plan and section. Typically, glass is drawn using two lines as
Architectural Language

close together as possible while still maintaining two distinct lines. Remember all
materials have thickness. Consider the location of the plane of the glass in the the wall
thickness. Should the glass be centered in the wall, flush to one side, or asymmetrical?
What does it mean to have glass that is flush versus centered?
 Design an opening
Developing the initial design:
Select one of your original study models as the basis for your design. Develop your opening
ideas, using the hardline drawings as underlays to make changes and modifications to your
design. As you continue to think and sketch, create a new study model to explore your ideas
at a larger scale 1:20. An increase in scale requires an increase in detail in both drawings and
models.
Using Axonometric drawings:
At this time in the process, it is good to construct a few axonometric drawings to investigate
how your ideas in plan and section are executed through the experience of someone looking
Architectural Language

at or occupying the opening. Use the axonometric as a design tool. In addition, use the
axonometric to represent floor, wall, and ceiling materials to begin to characterise the space.
Using diagrams:
In order to help yourself better understand and illustrate your design it is good to draw a
few diagrams showing different parts of your project such as a plan diagram, a geometric
diagram, a scale diagram, an activity diagram, etc…
 Design an opening
Developing the initial design:
Select one of your original study models as the basis for your design. Develop your opening
ideas, using the hardline drawings as underlays to make changes and modifications to your
design. As you continue to think and sketch, create a new study model to explore your ideas
at a larger scale 1:20. An increase in scale requires an increase in detail in both drawings and
models.
Using Axonometric drawings:
At this time in the process, it is good to construct a few axonometric drawings to investigate
how your ideas in plan and section are executed through the experience of someone looking
Architectural Language

at or occupying the opening. Use the axonometric as a design tool. In addition, use the
axonometric to represent floor, wall, and ceiling materials to begin to characterise the space.
Using diagrams:
In order to help yourself better understand and illustrate your design it is good to draw a
few diagrams showing different parts of your project such as a plan diagram, a geometric
diagram, a scale diagram, an activity diagram, etc…
 Design an opening
Find window precedents for your project and add to your image folder.

- Le Corbusier: La Tourette, Ronchamp, Villa Savoye, La Roche-Jeanneret

- Frank Lloyd Wright: Fallingwater
- Steven Holl: The Chapel of St. Ignatius
- Marcel Breuer: Whitney Museum
- Tadao Ando: Koshino House, Church of Light, Church on the Water, Vitra Museum
- Clark and Menefee: Middleton Inn
- Louis I. Kahn: Salk Institute, Esherick House
Architectural Language

- Konstantin Melnikov: House in Moscow

- Carlo Scarpa: Brion Cemetery, Canova Cast Museum
- Walter Gropius: Bauhaus
- Alvaro Siza: Faculty of Architecture, Faculty of Journalism, Galician Center of Contemporary Art,
The Serralves Foundation, Vieira de Castro House
- Guiseppi Terragni: Casa del Fascio
- Herzog & de Meuron: Roche Pharma Research Institute
- Jean Nouvel: L’Institut du Monde Arabe
ADF113 - City University - Spring 22

Course Instructor: Fawaz Charafeddine