2. Lecture 1

6. 1. About the Description of the Formal World and the Understanding of Visual Perception 1.1. DESCRIPTION OF THE FORMAL WORLD

7. 1. About the Description of the Formal World and the Understanding of Visual Perception 1.1. Description Of The Formal World 1.1.1. PHYSICAL PROPERTIES

8. 1. About the Description of the Formal World and the Understanding of Visual Perception 1.1. Description Of The Formal World 1.1.2. PARTS AND WHOLES

9. 1. About the Description of the Formal World and the Understanding of Visual Perception 1.1. Description Of The Formal World 1.1.3. PHYSICAL RELATIONS

10. 1. About the Description of the Formal World and the Understanding of Visual Perception 1.1. Description Of The Formal World 1.1.3. MORE ABOUT PHYSICAL RELATIONS

12. 1. About the Description of the Formal World and the Understanding of Visual Perception 1.1. Description Of The Formal World 1.1.5. TYPES OF FORMS

13. 1. About the Description of the Formal World and the Understanding of Visual Perception 1.1. Description Of The Formal World 1.1.6. FRAMES OF REFERENCE: THE 2D AND THE 3D CANVAS

14. 1. About the Description of the Formal World and the Understanding of Visual Perception 1.2. UNDERSTANDING OF VISUAL PERCEPTION

15. 1. About the Description of the Formal World and the Understanding of Visual Perception 1.2. Understanding of Visual Perception 1.2.1. SEGMENTATION

16. 1. About the Description of the Formal World and the Understanding of Visual Perception 1.2. Understanding of Visual Perception 1.2.2. FIGURES AND GROUND

17. 1. About the Description of the Formal World and the Understanding of Visual Perception 1.2. Understanding of Visual Perception 1.2.2. MORE ABOUT FIGURES AND GROUND

18. 1. About the Description of the Formal World and the Understanding of Visual Perception 1.2. Understanding of Visual Perception 1.2.2. MORE ABOUT FIGURES AND GROUND: GESTALT RULES

19. 1. About the Description of the Formal World and the Understanding of Visual Perception 1.2. Understanding of Visual Perception 1.2.2. MORE ABOUT FIGURES AND GROUND: GESTALT RULES

20. 1. About the Description of the Formal World and the Understanding of Visual Perception 1.2. Understanding of Visual Perception 1.2.2. MORE ABOUT FIGURES AND GROUND: GESTALT RULES

21. 1. About the Description of the Formal World and the Understanding of Visual Perception 1.2. Understanding of Visual Perception 1.2.2. MORE ABOUT FIGURES AND GROUND: GESTALT RULES

22. 1. About the Description of the Formal World and the Understanding of Visual Perception 1.2. Understanding of Visual Perception 1.2.2. MORE ABOUT FIGURES AND GROUND: GESTALT RULES

23. Lecture 1’

25. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.1. AXIS

26. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.1. MORE ABOUT AXIS IN 3D COMPOSITION

27. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.2. SYMMETRY

28. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.3. RHYTHM / REPETITION

29. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.3. MORE ABOUT RHYTHM / REPETITION

30. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.3. MORE ABOUT RHYTHM / REPETITION

31. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.3. MORE ABOUT RHYTHM / REPETITION

32. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.4. SIMILARITY

33. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.4. MORE ABOUT SIMILARITY

34. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.5. PROGRESSION / GRADATION

35. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.5. PROGRESSION / GRADATION : HIERARCHY

36. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.5. PROGRESSION / GRADATION : TRANSITION

37. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.5. PROGRESSION / GRADATION : MORE ABOUT TRANSITION

38. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.6. DATUM

39. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.6. MORE ABOUT DATUM

40. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.7. STRUCTURE

41. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.7. MORE ABOUT STRUCTURE: TYPES OF STRUCTURE

42. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.7. MORE ABOUT STRUCTURE: REPETITION STRUCTURES

43. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.7. MORE ABOUT STRUCTURE: GRADATION STRUCTURES

44. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.7. MORE ABOUT STRUCTURE: RADIATION STRUCTURES

45. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.7. MORE ABOUT STRUCTURE: RADIATION STRUCTURES: CENTRIFUGAL

46. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.7. MORE ABOUT STRUCTURE: RADIATION STRUCTURES: CONCENTRIC

47. 2. About Organizing Principles and How to Perform Design Manipulations 2.1. Organizing Principles 2.1.7. MORE ABOUT STRUCTURE: RADIATION STRUCTURES: CENTRIPETAL

49. 2. About Organizing Principles and How to Perform Design Manipulations 2.2. Design Manipulations 2.2.1. INSTANTIATION

50. 2. About Organizing Principles and How to Perform Design Manipulations 2.2. Design Manipulations 2.2.2. TRANSFORMATION

51. 2. About Organizing Principles and How to Perform Design Manipulations 2.2. Design Manipulations 2.2.2. MORE ABOUT TRANSFORMATION

52. 2. About Organizing Principles and How to Perform Design Manipulations 2.2. Design Manipulations 2.2.3. COMBINATION

53. 2. About Organizing Principles and How to Perform Design Manipulations 2.2. Design Manipulations 2.2.3. MORE ABOUT COMBINATION: ADDITIVE FORMS

54. 2. About Organizing Principles and How to Perform Design Manipulations 2.2. Design Manipulations 2.2.3. MORE ABOUT COMBINATION: SUBTRACTIVE FORMS

55. 2. About Organizing Principles and How to Perform Design Manipulations 2.2. Design Manipulations 2.2.4. REPLACEMENT

57. Lecture 2

59. DESCRIPTIVE REPRESENTATION OF A DESIGN PROCESS

62. 1. About the Planning Phase in Design 1.1. GATHERING DATA: DESIGN CONSTRAINTS

63. 1. About the Planning Phase in Design 1.2. Establishing Design Intentions or Goals 1.2.1. UTILITARIAN PURPOSE, CONSTRUCTION PERFORMANCE AND AESTHETICS: DESIGN REQUIREMENTS

64. 1. About the Planning Phase in Design 1.2. Establishing Design Intentions or Goals 1.2.1. MORE ABOUT UTILITARIAN PURPOSE, CONSTRUCTION PERFORMANCE AND AESTHETICS: EXPRESSION AND SYMBOLIC AESTHETICS

65. 1. About the Planning Phase in Design 1.2. Establishing Design Intentions or Goals 1.2.1. MORE ABOUT UTILITARIAN PURPOSE, CONSTRUCTION PERFORMANCE AND AESTHETICS: EXPRESSION AND SYMBOLIC AESTHETICS

66. 1. About the Planning Phase in Design 1.2. Establishing Design Intentions or Goals 1.2.1. MORE ABOUT UTILITARIAN PURPOSE, CONSTRUCTION PERFORMANCE AND AESTHETICS: EXPRESSION AND FORMAL AESTHETICS

67. 1. About the Planning Phase in Design 1.2. Establishing Design Intentions or Goals 1.2.2. FORMAL AESTHETIC GOALS: DEALING WITH EXTREME ORDER AND TOTAL CHAOS

68. 1. About the Planning Phase in Design 1.2. Establishing Design Intentions or Goals 1.2.2. MORE ABOUT FORMAL AESTHETIC GOALS: DEALING WITH EXTREME ORDER AND TOTAL CHAOS

69. 1. About the Planning Phase in Design 1.2. Establishing Design Intentions or Goals 1.2.2. Formal aesthetic Goals : dealing with extreme order and total chaos 1.2.2.1. SIMPLICITY AND COMPLEXITY

70. 1. About the Planning Phase in Design 1.2. Establishing Design Intentions or Goals 1.2.2. Formal aesthetic Goals : dealing with extreme order and total chaos 1.2.2.1. MORE ABOUT SIMPLICITY AND COMPLEXITY

71. 1. About the Planning Phase in Design 1.2. Establishing Design Intentions or Goals 1.2.2. Formal aesthetic Goals : dealing with extreme order and total chaos 1.2.2.2. REGULARITY AND ANOMALY

72. 1. About the Planning Phase in Design 1.2. Establishing Design Intentions or Goals 1.2.2. Formal aesthetic Goals : dealing with extreme order and total chaos 1.2.2.2. MORE ABOUT REGULARITY AND ANOMALY

73. 1. About the Planning Phase in Design 1.2. Establishing Design Intentions or Goals 1.2.2. Formal aesthetic Goals : dealing with extreme order and total chaos 1.2.2.3. SYMMETRICAL BALANCE AND ASYMMETRICAL BALANCE

74. 1. About the Planning Phase in Design 1.2. Establishing Design Intentions or Goals 1.2.2. Formal aesthetic Goals : dealing with extreme order and total chaos 1.2.2.3. MORE … SYMMETRICAL BALANCE AND ASYMMETRICAL BALANCE

75. 1. About the Planning Phase in Design 1.2. Establishing Design Intentions or Goals 1.2.2. Formal aesthetic Goals : dealing with extreme order and total chaos 1.2.2.3. UNIFORMITY AND CONTRAST

76. 1. About the Planning Phase in Design 1.2. Establishing Design Intentions or Goals 1.2.2. Formal aesthetic Goals : dealing with extreme order and total chaos 1.2.2.3. MORE ABOUT UNIFORMITY AND CONTRAST

77. 1. About the Planning Phase in Design 1.3. Inferring Formative Ideas 1.3.1. METAPHORS

78. 1. About the Planning Phase in Design 1.3. Inferring Formative Ideas 1.3.1. MORE ABOUT METAPHORS

79. 1. About the Planning Phase in Design 1.3. Inferring Formative Ideas 1.3.2. DESIGN PARADIGMS

80. 1. About the Planning Phase in Design 1.3. Inferring Formative Ideas 1.3.2. MORE ABOUT DESIGN PARADIGMS

81. 1. About the Planning Phase in Design 1.3. Inferring Formative Ideas 1.3.2. MORE ABOUT DESIGN PARADIGMS

82. 1. About the Planning Phase in Design 1.3. Inferring Formative Ideas 1.3.2. MORE ABOUT DESIGN PARADIGMS

83. 1. About the Planning Phase in Design 1.3. Inferring Formative Ideas 1.3.2. MORE ABOUT DESIGN PARADIGMS

86. 3. About the Evaluation Phase in design 3.2. EVALUATION OF FORMAL AESTHETICS: INTERPRETATION OF EXISTENTIAL EXPRESSION AND SYMBOLIC MEANING

87. 3. About the Evaluation Phase in design 3.2. MORE ABOUT EVALUATION OF FORMAL AESTHETICS: INTERPRETATION OF EXISTENTIAL EXPRESSION AND SYMBOLIC MEANING

88. 3. About the Evaluation Phase in design 3.2. MORE ABOUT EVALUATION OF FORMAL AESTHETICS: INTERPRETATION OF EXISTENTIAL EXPRESSION AND SYMBOLIC MEANING

89. 3. About the Evaluation Phase in design 3.2. MORE ABOUT EVALUATION OF FORMAL AESTHETICS: INTERPRETATION OF EXISTENTIAL EXPRESSION AND SYMBOLIC MEANING

90. 3. About the Evaluation Phase in design 3.2. MORE ABOUT EVALUATION OF FORMAL AESTHETICS: INTERPRETATION OF EXISTENTIAL EXPRESSION AND SYMBOLIC MEANING

91. 3. About the Evaluation Phase in design 3.2. MORE ABOUT EVALUATION OF FORMAL AESTHETICS: INTERPRETATION OF EXISTENTIAL EXPRESSION AND SYMBOLIC MEANING

93. Lecture 3

97. 1. About the Functional Description of Spaces 1.1. FUNCTIONALITY OF SOLIDS VS. FUNCTIONALITY OF VOIDS A description of form tells what an object is, while a functional description tells what it accomplishes

98. 1. About the Functional Description of Spaces 1.1. MORE ABOUT FUNCTIONALITY OF SOLIDS VS. FUNCTIONALITY OF VOIDS

99. 1. About the Functional Description of Spaces 1.2. ACTIVITIES IN SPACES REFLECTED IN PROGRAMMATIC REQUIREMENTS

100. 1. About the Functional Description of Spaces 1.2. MORE ABOUT PROGRAMMATIC REQUIREMENTS

101. 1. About the Functional Description of Spaces 1.2. MORE ABOUT PROGRAMMATIC REQUIREMENTS

102. 1. About the Functional Description of Spaces 1.3. ORGANIZATION OF ACTIVITIES REFLECTED IN ZONING DIAGRAMS

103. 1. About the Functional Description of Spaces 1.3. MORE ABOUT ZONING DIAGRAMS

104. 1. About the Functional Description of Spaces 1.3. MORE ABOUT ZONING DIAGRAMS

105. 2. About the Geometrical Description of Functional Spaces 2.1. Elements of Spatial Definition 2.1.1. Horizontal Elements 2.1.2. Vertical Elements 2.1.3. Openings 2.2. Spatial Relationships 2.3. Organizing Principles and Common Spatial Configurations 2.4. Sequential Experience 2.4.1. Approach 2.4.2. Entrance 2.4.3. Circulation Paths 2.4.4. Path-Space Relationships 2.4.5. Form of Circulation Space

106. 2. About the Geometrical Description of Functional Spaces 2.1. ELEMENTS OF SPATIAL DEFINITION

107. 2. About the Geometrical Description of Functional Spaces 2.1. Elements of Spatial Definition 2.1.1. HORIZONTAL ELEMENTS

108. 2. About the Geometrical Description of Functional Spaces 2.1. Elements of Spatial Definition 2.1.1. VERTICAL ELEMENTS

109. 2. About the Geometrical Description of Functional Spaces 2.1. Elements of Spatial Definition 2.1.1. OPENINGS

110. 2. About the Geometrical Description of Functional Spaces 2.2. SPATIAL RELATIONSHIPS

111. 2. About the Geometrical Description of Functional Spaces 2.3. ORGANIZING PRINCIPLES AND COMMON SPATIAL CONFIGURATIONS

112. 2. About the Geometrical Description of Functional Spaces 2.4. SEQUENTIAL EXPERIENCE

113. 2. About the Geometrical Description of Functional Spaces 2.4. MORE ABOUT SEQUENTIAL EXPERIENCE

114. 2. About the Geometrical Description of Functional Spaces 2.4. Sequential Experience 2.4.1. APPROACH

115. 2. About the Geometrical Description of Functional Spaces 2.4. Sequential Experience 2.4.2. ENTRANCE

116. 2. About the Geometrical Description of Functional Spaces 2.4. Sequential Experience 2.4.2. ENTRANCE

117. 2. About the Geometrical Description of Functional Spaces 2.4. Sequential Experience 2.4.3. CIRCULATION PATHS

118. 2. About the Geometrical Description of Functional Spaces 2.4. Sequential Experience 2.4.4. PATH-SPACE RELATIONSHIPS

119. 2. About the Geometrical Description of Functional Spaces 2.4. Sequential Experience 2.4.5. FORM OF CIRCULATION SPACE

120. 3. Perception of Solids and Voids 3.1. Solid and Void equals Figure and Ground Relationship 3.2. Spatial Radiance

121. 3. Perception of Solids and Voids 3.1. SOLID AND VOID EQUALS FIGURE AND GROUND RELATIONSHIP

122. 3. Perception of Solids and Voids 3.1. MORE ABOUT SOLID AND VOID RELATIONSHIP

123. 3. Perception of Solids and Voids 3.2. SPATIAL RADIANCE

124. 3. Perception of Solids and Voids 3.2. MORE ABOUT SPATIAL RADIANCE

125. 3. Perception of Solids and Voids 3.2. MORE ABOUT SPATIAL RADIANCE

126. 3. Perception of Solids and Voids 3.2. MORE ABOUT SPATIAL RADIANCE

127. 3. Perception of Solids and Voids 3.2. MORE ABOUT SPATIAL RADIANCE

128. 3. Perception of Solids and Voids 3.2. MORE ABOUT SPATIAL RADIANCE

129. 4. FORM OR FUNCTION, WHAT FOLLOWS WHAT?

130. 4. FORM OR FUNCTION, WHAT FOLLOWS WHAT?

131. 4. FORM OR FUNCTION, WHAT FOLLOWS WHAT?

133. Lecture 4

135. DESCRIPTIVE REPRESENTATION OF A DESIGN PROCESS

138. 1. About the Planning Phase in Design 1.1. GATHERING DATA: REQUIREMENTS AND CONSTRAINTS

139. 1. About the Planning Phase in Design 1.1. Gathering Data: The Context (The Site) 1.1. 1.The Micro World: The Inner Environment

140. 1. About the Planning Phase in Design 1.1. Gathering Data: The Context (The Site) 1.1. 1.The Micro World: The Inner Environment

141. 1. About the Planning Phase in Design 1.1. Gathering Data: The Context (The Site) 1.2. 1.The Mega World: The Outer Environment

142. 1. About the Planning Phase in Design 1.1. Gathering Data: The Context (The Site) 1.2. 1.The Mega World: The Outer Environment

143. 1. About the Planning Phase in Design 1.2. Establishing Design Intentions or Goals 1.2.1. UTILITARIAN PURPOSE

144. 1. About the Planning Phase in Design 1.2. Establishing Design Intentions or Goals 1.2.2. FORMAL / SPATIAL AESTHETICS: Balance Between Exterior Form / Interior Space

145. 1. About the Planning Phase in Design 1.2. Establishing Design Intentions or Goals 1.2.2. MORE ABOUT FORMAL / SPATIAL AESTHETICS: Balance Between Exterior Form /Interior Space

146. 1. About the Planning Phase in Design 1.3. INFERRING A PRIME DESIGN IDEA: USING METAPHORS WITH A HUMANISTIC APPROACH

147. 1. About the Planning Phase in Design 1.3. INFERRING A PRIME DESIGN IDEA: USING METAPHORS WITH A HUMANISTIC APPROACH

148. 2. About the Generation Phase in Design a. Generation of the parti: designing the conceptual organization b. Identifying the design elements: enclosure and space (solids and voids) c. Fitting activities with spaces: study of proportions and human scale d. Applying organizing principles e. Implementing design manipulations f. Defining formal / spatial relationships and joints

150. 3. About the Evaluation Phase in design 3.1. PERFORMANCE EVALUATION : FUNCTIONAL ASPECTS

151. 3. About the Evaluation Phase in design 3.1. PERFORMANCE EVALUATION : FUNCTIONAL ASPECTS

152. 3. About the Evaluation Phase in design 3.2. Evaluation of Formal Aesthetics 3.2.1. QUALITY OF EXTERNAL FORMS

153. 3. About the Evaluation Phase in design 3.2. Evaluation of Formal Aesthetics 3.2.2. QUALITY OF INTERNAL SPACES

154. 3. About the Evaluation Phase in design 3.2. Evaluation of Formal Aesthetics 3.2.2. MORE ABOUT THE QUALITY OF INTERNAL SPACES

155. 3. About the Evaluation Phase in design 3.2. Evaluation of Formal Aesthetics 3.2.2. QUALITY OF INTERNAL SPACES 3.2.2.4. THE DEGREE OF ENCLOSURE OF INTERIOR SPACES

156. 3. About the Evaluation Phase in design 3.2. Evaluation of Formal Aesthetics 3.2.2. QUALITY OF INTERNAL SPACES 3.2.2.4. MORE ABOUT THE DEGREE OF ENCLOSURE OF INTERIOR SPACES

157. 3. About the Evaluation Phase in design 3.2. Evaluation of Formal Aesthetics 3.2.2. QUALITY OF INTERNAL SPACES 3.2.2.4. MORE ABOUT THE DEGREE OF ENCLOSURE OF INTERIOR SPACES

158. 3. About the Evaluation Phase in design 3.2. Evaluation of Formal Aesthetics 3.2.2. QUALITY OF INTERNAL SPACES 3.2.2.4. MORE ABOUT THE DEGREE OF ENCLOSURE OF INTERIOR SPACES

159. 3. About the Evaluation Phase in design 3.2. Evaluation of Formal Aesthetics 3.2.2. QUALITY OF INTERNAL SPACES 3.2.2.4. MORE ABOUT THE DEGREE OF ENCLOSURE OF INTERIOR SPACES

160. 3. About the Evaluation Phase in design 3.2. Evaluation of Formal Aesthetics 3.2.2. QUALITY OF INTERNAL SPACES 3.2.2.4. MORE ABOUT THE DEGREE OF ENCLOSURE OF INTERIOR SPACES

161. 3. About the Evaluation Phase in design 3.2. Evaluation of Formal Aesthetics 3.2.2. QUALITY OF INTERNAL SPACES 3.2.2.4. MORE ABOUT THE DEGREE OF ENCLOSURE OF INTERIOR SPACES

162. 3. About the Evaluation Phase in design 3.2. Evaluation of Formal Aesthetics 3.2.2. QUALITY OF INTERNAL SPACES 3.2.2.4. MORE ABOUT THE DEGREE OF ENCLOSURE OF INTERIOR SPACES

163. 3. About the Evaluation Phase in design 3.2. Evaluation of Formal Aesthetics 3.2.2. QUALITY OF INTERNAL SPACES 3.2.2.4. MORE ABOUT THE DEGREE OF ENCLOSURE OF INTERIOR SPACES

164. 3. About the Evaluation Phase in design 3.2. Evaluation of Formal Aesthetics 3.2.2. QUALITY OF INTERNAL SPACES 3.2.2.4. MORE ABOUT THE DEGREE OF ENCLOSURE OF INTERIOR SPACES

165. 3. About the Evaluation Phase in design 3.2. Evaluation of Formal Aesthetics 3.2.2. QUALITY OF INTERNAL SPACES 3.2.2.4. MORE ABOUT THE DEGREE OF ENCLOSURE OF INTERIOR SPACES

166. 3. About the Evaluation Phase in design 3.2. Evaluation of Formal Aesthetics 3.2.2. QUALITY OF INTERNAL SPACES 3.2.2.4. MORE ABOUT THE DEGREE OF ENCLOSURE OF INTERIOR SPACES

167. 3. About the Evaluation Phase in design 3.2. Evaluation of Formal Aesthetics 3.2.2. QUALITY OF INTERNAL SPACES 3.2.2.4. MORE ABOUT THE DEGREE OF ENCLOSURE OF INTERIOR SPACES

168. 3. About the Evaluation Phase in design 3.2. Evaluation of Formal Aesthetics 3.2.2. QUALITY OF INTERNAL SPACES 3.2.2.5. THE CONFIGURATION OF INTERIOR SPACES

169. 3. About the Evaluation Phase in design 3.2. Evaluation of Formal Aesthetics 3.2.2. QUALITY OF INTERNAL SPACES 3.2.2.5. MORE ABOUT THE CONFIGURATION OF INTERIOR SPACES

170. 3. About the Evaluation Phase in design 3.2. Evaluation of Formal Aesthetics 3.2.2. QUALITY OF INTERNAL SPACES 3.2.2.5. MORE ABOUT THE CONFIGURATION OF INTERIOR SPACES

171. 3. About the Evaluation Phase in design 3.2. Evaluation of Formal Aesthetics 3.2.2. QUALITY OF INTERNAL SPACES 3.2.2.5. MORE ABOUT THE CONFIGURATION OF INTERIOR SPACES

173. Lecture 5

177. 1. THE MATERIALS Selection of materials should be done with a high degree of coordination: a) seeking material unity (large number of different materials tend to create a sense of disunity ) b) atmosphere or feeling (expression) c) texture compatibility (association among materials) d) surrounding buildings (uses and patterns)

178. 1. THE MATERIALS

179. 1. THE MATERIALS

180. 1. THE MATERIALS

181. 1. THE MATERIALS

182. 2. THE ENCLOSURE The materialization of the is the creation of the physical shell around the building spaces. This materialization is concerned with the relationships between: enclosure the enclosing planes, the openings, and the elements of the structure

185. Lecture 5’

188. 3. The Structure 3.1. MORE ABOUT STRUCTURAL REQUIREMENTS: LOADS

189. 3. The Structure 3.1. MORE ABOUT STRUCTURAL REQUIREMENTS: LOADS

190. 3. The Structure 3.1. MORE ABOUT STRUCTURAL REQUIREMENTS: LOADS

191. 3. The Structure 3.1. MORE ABOUT STRUCTURAL REQUIREMENTS: LOADS

192. 3. The Structure 3.2. STRUCTURE TYPES ROOFS SUPPORTED WITH VERTICAL ELEMENTS SUBJECTS OF COMPRESSION: POST AND BEAM STRUCTURES: - LOAD BEARING WALLS - SKELETON FRAME ROOFS SUPPORTED WITH VERTICAL ELEMENTS SUBJECTS OF TENSION: MASTED STRUCTURES - ARCHES, VAULTED HALLS, AND DOMES - PORTAL FRAMES - TRUSSES - SPACE FRAMES - FOLDED ROOFS - SHELLS - MEMBRANES AND TENTS ROOF STRUCTURES

193. 3. The Structure 3.2. MORE ABOUT STRUCTURE TYPES: MATERIALIZATION OF A CUBE

195. 3. The Structure 3.2. Structure Types 3.2.1. MORE ABOUT POST AND BEAM STRUCTURES: LOAD BEARING WALLS

196. 3. The Structure 3.2. Structure Types 3.2.1. MORE ABOUT POST AND BEAM STRUCTURES: LOAD BEARING WALLS

197. 3. The Structure 3.2. Structure Types 3.2.1. MORE ABOUT POST AND BEAM STRUCTURES: LOAD BEARING WALLS

198. 3. The Structure 3.2. Structure Types 3.2.1. MORE ABOUT POST AND BEAM STRUCTURES: SKELETON FRAME

199. 3. The Structure 3.2. Structure Types 3.2.2. ARCHES, VAULTED HALLS, AND DOMES

200. 3. The Structure 3.2. Structure Types 3.2.2. MORE ABOUT ARCHES AND VAULTED ROOFS

201. 3. The Structure 3.2. Structure Types 3.2.2. MORE ABOUT DOMES

202. 3. The Structure 3.2. Structure Types 3.2.3. PORTAL FRAMES

203. 3. The Structure 3.2. Structure Types 3.2.3. MORE ABOUT PORTAL FRAMES

204. 3. The Structure 3.2. Structure Types 3.2.4. TRUSSES

205. 3. The Structure 3.2. Structure Types 3.2.4. MORE ABOUT TRUSSES

206. 3. The Structure 3.2. Structure Types 3.2.5. SPACE FRAMES

207. 3. The Structure 3.2. Structure Types 3.2.5. MORE ABOUT SPACE FRAMES

208. 3. The Structure 3.2. Structure Types 3.2.5. MORE ABOUT SPACE FRAMES

209. 3. The Structure 3.2. Structure Types 3.2.6. FOLDED ROOFS

210. 3. The Structure 3.2. Structure Types 3.2.6. MORE ABOUT FOLDED ROOFS

211. 3. The Structure 3.2. Structure Types 3.2.7. SHELLS

212. 3. The Structure 3.2. Structure Types 3.2.7. MORE ABOUT SHELLS

213. 3. The Structure 3.2. Structure Types 3.2.7. MORE ABOUT SHELLS

214. 3. The Structure 3.2. Structure Types 3.2.8. TENSILE STRUCTURES

215. 3. The Structure 3.2. Structure Types 3.2.8. MORE ABOUT TENSILE STRUCTURES

216. 3. The Structure 3.2. Structure Types 3.2.8. MORE ABOUT TENSILE STRUCTURES

217. 3. The Structure 3.2. Structure Types 3.2.8. MORE ABOUT TENSILE STRUCTURES

218. 3. The Structure 3.3. DETERMINATION OF THE STRUCTURAL FORM

219. 3. The Structure 3.3. Determination Of The Structural Form 3.3.1. DESIGN STRATEGIES

220. 3. The Structure 3.3. Determination Of The Structural Form 3.3.2. SELECTION OF THE GENERIC TYPE OF STRUCTURE

221. 3. The Structure 3.3. Determination Of The Structural Form 3.3.3. SELECTION OF STRUCTURAL MATERIAL

222. Lecture 5’’

223. 4. COMPOSITION OF THE BUILDING 4.1. ARTICULATION AND CONTINUITY

224. 4. COMPOSITION OF THE BUILDING 4.1. MORE ABOUT ARTICULATION AND CONTINUITY

225. 4. COMPOSITION OF THE BUILDING 4.2. CORNER ARTICULATION

226. 4. COMPOSITION OF THE BUILDING 4.2. MORE ABOUT CORNER ARTICULATION

227. 4. COMPOSITION OF THE BUILDING 4.2. MORE ABOUT CORNER ARTICULATION

228. 4. COMPOSITION OF THE BUILDING 4.2. MORE ABOUT CORNER ARTICULATION

230. Lecture 6

234. 1. Form, Function, and Materialization 1.1. What we have learned about form, function, and materialization. 1.1.1. FORM: SEEKING GEOMETRICAL ORDER AND EXPRESSION OF FORMAL QUALITIES

235. 1. Form, Function, and Materialization 1.1. What we have learned about form, function, and materialization. 1.1.1. FORM: SEEKING GEOMETRICAL ORDER AND EXPRESSION OF FORMAL QUALITIES

236. 1. Form, Function, and Materialization 1.1. What we have learned about form, function, and materialization. 1.1.2. FUNCTION: SEEKING ADEQUATE PERFORMANCE AND EXPRESSION OF SPACES

237. 1. Form, Function, and Materialization 1.1. What we have learned about form, function, and materialization. 1.1.2. FUNCTION: SEEKING ADEQUATE PERFORMANCE AND EXPRESSION OF SPACES

238. 1. Form, Function, and Materialization 1.1. What we have learned about form, function, and materialization. 1.1.3. MATERIALIZATION: SEEKING ADEQUATE PERFORMANCE AND EXPRESSION OF MATERIAL ELEMENTS The materialization of the is the creation of the physical shell around the building spaces. This materialization is concerned with the relationships between: enclosure the enclosing planes, the openings, and the elements of the structure

239. 1. Form, Function, and Materialization 1.1. What we have learned about form, function, and materialization. 1.1.3. MATERIALIZATION: SEEKING ADEQUATE PERFORMANCE AND EXPRESSION OF MATERIAL ELEMENTS

240. 1. Form, Function, and Materialization 1.1. What we have learned about form, function, and materialization. 1.1.3. MATERIALIZATION: SEEKING ADEQUATE PERFORMANCE AND EXPRESSION OF MATERIAL ELEMENTS

241. 1. Form, Function, and Materialization 1.1. What we have learned about form, function, and materialization. 1.1.3. MATERIALIZATION: SEEKING ADEQUATE PERFORMANCE AND EXPRESSION OF MATERIAL ELEMENTS

242. 1. Form, Function, and Materialization 1.2. DESIGN IS THE BALANCING ACT: WISHING VERSUS NEEDING

243. 1. Form, Function, and Materialization 1.2. DESIGN IS THE BALANCING ACT: WISHING VERSUS NEEDING

244. 1. Form, Function, and Materialization 1.2. DESIGN IS THE BALANCING ACT: WISHING VERSUS NEEDING

246. 2. Ideas 2.1. DEAS UNIFY PARTS INTO A TOTALITY

247. 2. Ideas 2.2. INFERRING A PRIME DESIGN IDEA: USING METAPHORS WITH A HUMANISTIC APPROACH

248. 2. Ideas 2.3. THEORY OF CONTRAST FOR AIDING DESIGN

249. 2. Ideas 2.3. MORE ABOUT THE THEORY OF CONTRAST FOR AIDING DESIGN

250. 2. Ideas 2.3. MORE ABOUT THEORY OF CONTRAST FOR AIDING DESIGN

251. 2. Ideas 2.3. Theory Of Contrast For Aiding Design 2.3.1. SOME DIMENSIONS OF CONTRAST

252. 2. Ideas 2.3. Theory Of Contrast For Aiding Design 2.3.1. SOME DIMENSIONS OF CONTRAST: INSIDE AND OUTSIDE

253. 2. Ideas 2.3. Theory Of Contrast For Aiding Design 2.3.1. SOME DIMENSIONS OF CONTRAST: MORE ABOUT INSIDE AND OUTSIDE

254. 2. Ideas 2.3. Theory Of Contrast For Aiding Design 2.3.2. SOME DIMENSIONS OF CONTRAST: EXPOSED AND TEMPERED

255. 2. Ideas 2.3. Theory Of Contrast For Aiding Design 2.3.2. SOME DIMENSIONS OF CONTRAST: MORE ... EXPOSED AND TEMPERED

256. 2. Ideas 2.3. Theory Of Contrast For Aiding Design 2.3.3. SOME DIMENSIONS OF CONTRAST: UP AND DOWN

257. 2. Ideas 2.3. Theory Of Contrast For Aiding Design 2.3.3. SOME DIMENSIONS OF CONTRAST: MORE ABOUT UP AND DOWN

258. 2. Ideas 2.3. Theory Of Contrast For Aiding Design 2.3.3. SOME DIMENSIONS OF CONTRAST: MORE ABOUT UP AND DOWN

259. 2. Ideas 2.3. Theory Of Contrast For Aiding Design 2.3.4. SOME DIMENSIONS OF CONTRAST: SOMETHING AND NOTHING

260. 2. Ideas 2.3. Theory Of Contrast For Aiding Design 2.3.4. SOME DIMENSIONS OF CONTRAST: MORE … SOMETHING AND NOTHING

261. 2. Ideas 2.3. Theory Of Contrast For Aiding Design 2.3.4. SOME DIMENSIONS OF CONTRAST: MORE … SOMETHING AND NOTHING

262. 2. Ideas 2.3. Theory Of Contrast For Aiding Design 2.3.5. SOME DIMENSIONS OF CONTRAST: ORDER AND MYSTERY

264. Lecture 7

265. HOW TO DEFINE THE OUTDOOR SPACE The objectives of these illustrations are to describe the various types of outdoor spaces created by buildings, to provide some design guidelines for organizing buildings in a composition, and to outline different methods for integrating buildings and the landscape together into a well-coordinated environment. From the chapter Buildings of “ “ by

266. BUILDING CLUSTERS AND SPATIAL DEFINITION

267. BUILDING CLUSTERS AND SPATIAL DEFINITION

268. DISTANCE TO BUILDING HEIGHT RATIO

269. BUILDING CLUSTERS AND SPATIAL DEFINITION

270. PLAN ARRANGEMENT

271. PLAN ARRANGEMENT

272. PLAN ARRANGEMENT

273. PLAN ARRANGEMENT

274. PLAN ARRANGEMENT

275. CENTRAL COMMON OPEN SPACE

276. CENTRAL COMMON OPEN SPACE FOCUSED OPEN SPACE

277. CHANNELED LINEAR SPACE

278. ORGANIC LINEAR SPACE

279. DESIGN GUIDELINES FOR BUILDING CLUSTERS

280. DESIGN GUIDELINES FOR BUILDING CLUSTERS

281. DESIGN GUIDELINES FOR BUILDING CLUSTERS

282. RELATING BUILDINGS TO SITE

283. RELATING BUILDINGS TO SITE

284. RELATING BUILDINGS TO SITE

285. RELATING BUILDINGS TO SITE

286. RELATING BUILDINGS TO SITE