The document provides guidance for an architecture design maquette/diorama project. It outlines the objectives and requirements, which include utilizing at least 2 techniques from previous projects, submitting proposal and progress reports, and presenting the final design on a 23"x17" base. The design cannot be an ordinary house and must consider elements of design like unity, scale, proportion, and balance. It then provides examples and explanations of these elements, including varieties of unity (grid, pattern, color, minimal), scales (human, intimate, monumental), textures, and balances (dynamic/static, symmetry/asymmetry). Historic and modern architecture examples are shown. The document concludes with references for additional information.

1. Unity/Materiality/Scale
Architectural Design Maquette
(Diorama)
3D Design
Manami Ishimura

2. Objective/Requirements
• Create an architecture design and landscape (diorama) researching and analyzing a
specific landscape.
• Students must utilize at least 2 techniques from the previous projects (ex. Paper mâché,
mixed medium, soldering, and wood)
• Submit Assignments and participate group activities:
1. Proposal (research, brainstorming, visual color design, sketches)
2. Group discussion
3. Progress Report
4. Critique
5. Finalized Project Documentation
• The architecture design maquette/landscape (diorama) must be presented on the 23”x
17” base
• The architecture design cannot be ordinary house or building but must be an original
design.
• The architecture design must be visually appeal in your style.
• The design and concept must be considered the elements and principles of design
(especially Unity / Scale / Proportion / Balance)

3. Taboo
Do not make ordinary house or building!!!!
Your project has to look completed

4. Student Examples

5. Unity
• Unity is achieved when the whole is more important than the parts.
More often, unity consists of many forms or objects brought together
to construct a coherent whole.

6. Variety of Unity
• Grid
• Pattern
• Color
• Minimal

7. Grid
Ludwig Mies van der Rohe with Philip Johnson, Seagram Building. New York. 1956-1958
3-dimensional grid is a unifying force.
For example, the Seagram Building’s structure is a 3D
matrix, it is a monolith.

8. Pattern
The formal gardens of
Versailles consist of many
elements; tree, bushes, paths,
and grass, and all in unique
shapes. The symmetrical
unifying pattern keeps the
elements as a whole.
Gardens at the Chateau de Versailles in France

9. Color
Chefchaouen, Morocco
Variety of colors on the blue wall
serves as an antidote to a unity
of the solid blue wall

10. Minimal
Ryoanji, a Japanese Zen
rock garden is unified by
its rectangular framing
format, monochrome
pallet, and by its
consistent elements (all
natural rocks).
Rock garden, Ryoanji temple, Kyoto Japan. 15c

11. Scale
• The actual or relative dimensions of an object, or parts of an object in
relation to one another
• In the vocabulary of sculpture (or 3D art), scale and size are not
synonymous. Size is normally thought of in terms of large and small -
the relative dimensions of a thing. Size can be measured in units, but
scale is more ambiguous.

12. Variety of Scale
• Human Scale
• Intimate Scale
• Monumental Scale

13. Human Scale
• The human scale is what we are used to. Our houses are typically built to
this natural scale. We should feel comfortable walking through our
doorways. The ceiling neither bumps our heads, nor is lost in the
shadows.

14. Monumental Scale
• Monumental scale is impressive. Our public buildings are
monumental. This is a statement of hierarchy, highlighting their
importance in our society. Those institutions represented by those
buildings are bigger than us.

15. Intimate Scale
• Intimate sizes are smaller than what is normal. These don’t shock you,
but they are smaller than what we expect, being cocoon like.

16. Texture
• Texture of a building is often the first opportunity for an architect to
leave an impression. This skin encloses and shelters the interior
spaces and is one of the key components that determines a building's
personality.
• A good texture in archtecture involves using exterior wall materials
and designs that are climate-appropriate, structurally
sound and aesthetically pleasing.

17. Variety of Texture
Frank Gehry (1997) Guggenheim Museum, Bilbao

18. Faulders Studio (2007) Airspace Tokyo

19. Tomás Amat (2010) La Cigarra Café Entry Pavilion

20. • (771) Great Mosque of Isfahan

21. Balance
• Dynamic vs Static
• Symmetry vs Asymmetry

22. Dynamic vs Static
• Architects can never forget that structures exist for human use, and
they thus have to build with human perceptions in mind. As people
see a structure, they think of it as either static or dynamic.
• There is a place for both static and dynamic structures because of
their effect on a viewer emotions. Static spaces are calming and
dynamic spaces are exciting. Designers must consider the reaction
they want to evoke with their structures.

23. Static
• Static structures appear still
and solid. For example,
rectangular skyscrapers are
static structures.

24. Dynamic
• Dynamic structures draw the eye in
movement to various parts of the
composition; the whole cannot be
taken in at a glance. Buildings that have
curved or diagonal lines appear
dynamic.

25. Symmetry vs Asymmetry
• Architecture, as any compositional art, makes extensive use
of symmetry. Across all cultures and in all time periods, architectural
compositions are symmetrically arranged.
• Asymmetry is the absence of symmetry of any kind. We can exploit
asymmetry, using it to draw attention to areas in the design or to
convey dynamism or movement.
Asymmetry as the organising factor in Architecture is most commonly
seen in modern architecture.

26. Symmetry
• Architecture, as any compositional art, makes extensive use
of symmetry. Across all cultures and in all time periods, architectural
compositions are symmetrically arranged.

27. Symmetry
• Symmetry is
something that
Islamic
mosques,
The facade of Sheikh Lotfollah Mosque, a masterpiece of the Iranian architecture, built between 1602 – 1619

28. • Shito Shrines,
Byodoin temple in Kyoto, Japan

29. • Hindu temples,
Sri Ranganathaswamy in Srirangam

30. • Gothic cathedrals.
Beauvais Cathedral in Beauvais, France

31. Asymmetry
• Asymmetrical designs are rhythmic and radiate a sense of activeness. When
a designer or an Architect is making an asymmetrical design, they should
take care that balance and harmony of the structure is maintained. This
would help prevent visual chaos; which is very important if an Architect
wants people to feel pleasant and react positively when they look at his
designed structures.
Frank Gehry (2003) Walt Disney Concert Hall

32. Jørn Utzon (1973) Syndey Opera House

33. Norman Foster (2002) City Hall

34. Rem Koolhaas (2004) Seattle Central Library

35. Santiago Calatrava (2005) Palau de les Arts

36. Proportion
• Your response to architecture depends heavily on the impression and
the experience you have when walking into and around a space. An
important thing to remember when creating such effects
is proportion.

37. • The impression created by a narrow hallway is different from the
impression of a cube-shaped room.

38. • Similarly, a space that is vast, but with low headspace, gives an
entirely different impression from a space that, though small, has a
high ceiling.

39. Sou Fujimoto (2010) House of Na

40. Le Corbusier (1952) Unité d'habitation

41. Historic Architectures
The Great Mosque of Djenne. *Mud Architecture of Mali

42. Imhotep (237 BC) Temple of Edfu

43. • Yurt

44. Colosseum in Rome, Italy

45. Kiyomizu temple in Kyoto, Japan

46. Modern Architectures
Odunpazari Modern Art Museum by Kengo Kuma

47. Museum of Modern Art in Astana, Kazakhstan

48. Zaha Hadid's Heydar Aliyev Museum in Baku

49. Futuristic Architectures
Walk the Roof of an Underground Rail Station – China

50. Enjoy Concerts and an Artificial Beach on a Pier – Florida

51. Sleep in an Underwater Hotel – Dubai

52. Escape to the City in the Sky

53. Reference
• https://trinitys1design.weebly.com/