PREPARED BY : ARCHT. DOROTHY P.

CASTRO, UAP
UNIVERSITY OF PANGASINAN –PEN
COLLEGE OF ENGINEERING & ARCHITECTURE
VA L U E , A S P I R AT I O N , A N D
C U LT U R E O F A R C H I T E C T U R E
ARCHITECTURAL DESIGN VALUES-
AESTHETIC DESIGN VALUES
• Architectural design values make up an important part of what
influences architects when they make design decisions.
• The expansion of architectural and industrial design ideas and
vocabularies which took place during the last century has created
a diverse aesthetic reality within these two domains.
• This pluralistic and diverse aesthetic reality has typically been
created within different architectural and industrial design
movements such as:
• Modernism, postmodernism, deconstructivism, post-
structuralism, neoclassicism, new expressionism,
supermodernism etc.
 ARCHITECTURAL DESIGN VALUES-
AESTHETIC DESIGN VALUES
• THE SPIRITOF THE TIME DESIGN VALUE
• THESTRUCTURAL,FUNCTIONAL AND MATERIALHONESTY DESIGNVALUE
• THESIMPLICITYAND MINIMALISM DESIGN VALUE
• NATURE AND ORGANIC DESIGN VALUE
• THECLASSIC, TRADITIONALAND VERNACULAR AESTHETICSDESIGN
VALUE
• THE REGIONALISM DESIGN VALUE
• THE SOCIALCHANGE DESIGN VALUE
• THECONSULTATION AND PARTICIPATION DESIGNVALUE
 THE SPIRITOF THE TIME DESIGN VALUE
THISDESIGN VALUE ISBASEDON THECONCEPTION THATEVERY AGE HAS
A CERTAIN SPIRITOR SETOF SHAREDATTITUDESTHATSHOULD BEUTILISED
WHEN DESIGNING. THE SPIRITOF THE TIMES DENOTES THE INTELLECTUAL
AND CULTURALCLIMATE OF A PARTICULAR ERA,WHICH CAN BELINKED
TO AN EXPERIENCE OF A CERTAIN WORLDVIEW, SENSE OF TASTE,
COLLECTIVE CONSCIOUSNESSAND UNCONSCIOUSNESS. THUS“FORM
EXPRESSION”WHICH CAN BEFOUND, TO SOME EXTENTINTHE“AIR” OF A
GIVEN TIMEAND EACH GENERATION, SHOULD GENERATE AN AESTHETIC
STYLETHATEXPRESSESTHE UNIQUENESSRELATED TO THATTIME.
 THE STRUCTURAL, FUNCTIONAL AND
MATERIAL HONESTY DESIGN VALUE
STRUCTURALHONESTY ISLINKED TO THE NOTION THATA STRUCTURESHALL
DISPLAY ITS“TRUE” PURPOSE AND NOTBE DECORATIVE ETC.[9]
FUNCTIONALHONESTY ISLINKED TO THEIDEA THATA BUILDING OR
PRODUCTFORM SHALLBE SHAPED ON THEBASISOF ITSINTENDED
FUNCTION, OFTEN KNOWN AS“FORM FOLLOWSFUNCTION”.MATERIAL
HONESTY IMPLIES THAT MATERIALS SHOULD BE USED AND SELECTED ON
THE BASES OF THEIR PROPERTIES, AND THAT THE CHARACTERISTICS OF A
MATERIAL SHOULD INFLUENCE THE FORM ITISUSED FOR. THUS, A
MATERIALMUSTNOTBEUSED ASA SUBSTITUTE FOR ANOTHER MATERIAL
AS THISSUBVERTS THE MATERIALS “TRUE” PROPERTIES AND ITIS
“CHEATING” THE SPECTATOR.
 THE SIMPLICITY AND MINIMALISTDESIGN
VALUE
THISDESIGN VALUE ISBASED ON THEIDEA THATSIMPLEFORMS, I.E.
AESTHETICS WITHOUT CONSIDERABLE ORNAMENTS, SIMPLE GEOMETRY,
SMOOTH SURFACES ETC., REPRESENTS FORMS WHICH ARE BOTHTRUERTO
“REAL” ARTAND REPRESENTS“FOLK” WISDOM. THISDESIGN VALUE
IMPLIES THAT THE MORE CULTIVATED A PERSON BECOMES, THE MORE
DECORATION DISAPPEARS. IN ADDITION, ITISLINKED TO THE NOTION
THATSIMPLEFORMSWILL FREE PEOPLEFROM THE EVERYDAY CLUTTER,
THUSCONTRIBUTETO TRANQUILLITYAND RESTFULNESS.
 NATURE AND ORGANIC DESIGN VALUE
THISDESIGN VALUE ISBASED ON THEIDEA THATNATURE (I.E.ALL SORTSOF
LIVING ORGANISMS, NUMERICAL LAWS ETC.) CAN PROVIDE
INSPIRATION, FUNCTIONAL CLUES AND AESTHETIC FORMS THAT
ARCHITECTS AND INDUSTRIAL DESIGNERS SHOULD USE AS A BASIS FOR
DESIGNS.DESIGNSBASED ON THISVALUE TENDTO BECHARACTERIZEDBY
FREE-FLOWING CURVES, ASYMMETRICAL LINES AND EXPRESSIVE FORMS.
THISDESIGN VALUE CAN BE SUMMED UP IN “FORM FOLLOWSFLOW” OR
“OF THE HILL” ASOPPOSED TO “ON THEHILL”.
 THE CLASSIC, TRADITIONAL AND
VERNACULAR AESTHETICSDESIGN VALUE
THISVALUE ISBASED ON A BELIEF THATA BUILDING AND PRODUCT
SHOULD BE DESIGNED FROM TIMELESS PRINCIPLES THAT TRANSCEND
PARTICULAR DESIGNERS, CULTURESAND CLIMATES.[5]IMPLICITIN THIS
DESIGN VALUE ISTHENOTION THATIFTHESEFORMS ARE USED,THEPUBLIC
WILL APPRECIATE A STRUCTURE’S TIMELESS BEAUTY AND UNDERSTAND
IMMEDIATELYHOW TO USEA GIVEN BUILDINGOR PRODUCT. THISDESIGN
VALUE ISALSO LINKEDTO REGIONAL DIFFERENCESI.E.VARYING CLIMATE
ETC. AND FOLKLORE CULTURES, WHICH CREATES DISTINCTIVE, AESTHETIC
EXPRESSIONS.
 THE REGIONALISM DESIGN VALUE
THISDESIGN VALUE ISBASED ON THE BELIEF THAT BUILDING—AND TO
SOME DEGREE PRODUCTS—SHOULD BE DESIGNED IN ACCORDANCE
WITH THE PARTICULAR CHARACTERISTICS OF A SPECIFIC PLACE. IN
ADDITION, ITISLINKED TO THE AIM OF ACHIEVING VISUAL HARMONY
BETWEEN A BUILDING AND ITSSURROUNDINGS, AS WELL AS ACHIEVING
CONTINUITYINA GIVEN AREA. INOTHERWORDS, ITSTRIVESTO CREATE A
CONNECTION BETWEEN PAST AND PRESENT FORMS OF BUILDING.
FINALLY, THISVALUE ISALSO OFTEN RELATED TO PRESERVING AND
CREATING REGIONAL AND NATIONAL IDENTITY.
 THE SOCIAL CHANGE DESIGN VALUE
THISDESIGN VALUE CAN BE DESCRIBED ASA COMMITMENTTO CHANGE
SOCIETY FOR THE BETTER THROUGH ARCHITECTUREAND INDUSTRIAL
DESIGN. THISDESIGN VALUE ISCLOSELY CONNECTED AND ASSOCIATED
WITH POLITICAL MOVEMENTS AND SUBSEQUENT BUILDING PROGRAMS.
ARCHITECTS AND INDUSTRIAL DESIGNERS THAT ARE COMMITTED TO THE
DESIGN VALUE OF SOCIAL CHANGE OFTEN SEE THEIRWORK AS A TOOL
FOR TRANSFORMING THE BUILTENVIRONMENT AND THOSE WHO LIVE IN
IT.
 THE CONSULTATION AND PARTICIPATION
DESIGN VALUE
THISDESIGN VALUE ISBASED ON A BELIEFTHATITISBENEFICIALTO
INVOLVE STAKEHOLDERS IN THE DESIGN PROCESS. THISVALUE IS
CONNECTED TO A BELIEFTHATUSERINVOLVEMENT LEADSTO:
1.MEETING SOCIAL NEEDSAND AN EFFECTIVE USEOF RESOURCES.
2.INFLUENCING INTHEDESIGN PROCESS AS WELL AS AWARENESS OF THE
CONSEQUENCES ETC.
3.PROVIDING RELEVANTAND UP-TO-DATEINFORMATION FOR A
PROJECT TEAM.
 ASPIRATION
-A STRONG DESIRETO ACHIEVE SOMETHING HIGH OR GREAT –MIRRIAM
WEBSTER
 SUSTAINABLE INTEGRATION: THE
ASPIRATION OF FUTURE’S ARCHITECTURE
SUSTAINABILITY
WE CAN ALL AGREE THATWHEN WE THINKOF FUTURISTICARCHITECTURE,
THEWORD SUSTAINABLEISTHEONE TO LEAD THEMALL:UTOPIC IMAGES
OF TOWERING BUILDINGS OF GREEN FACADES WITH EXTREMELY
COMPLEX PROCESSES AND TECHNOLOGY TO ASSURE A SMALLER
CARBON FOOTPRINT.
 SUSTAINABLE INTEGRATION: THE
ASPIRATION OF FUTURE’S ARCHITECTURE
VERTICALITY
FROM THECONSTRUCTION OF THEFIRSTSKYSCRAPER AROUND 1886,THE
INCESSANT SEARCH TO TOUCH THE SKY BECAME AN ICON OF
CONTEMPORANEITY.ACCORDING TO THEORY, THE VERTICAL
DEVELOPMENTOF THE CITY WOULD HELP SOLVE THEPROBLEM OF
OVERPOPULATION AND DENSITY, AS WELL AS ENDOWING THE URBAN
DISPLAY WITH DISRUPTIVE, YET WELCOMED MORPHOLOGICAL
INNOVATIONS.
 SUSTAINABLE INTEGRATION: THE
ASPIRATION OF FUTURE’S ARCHITECTURE
VERTICALITY
MOREOVER, ENERGY ECONOMIZATION AND RESPONDING TO CLIMATIC
CONDITIONS HAS BECOME A KEY FACTOR IN DETERMINING THE SHAPE
OF A BUILDING, ITSFAÇADESAND LANGUAGE. JUSTLIKE
TECHNOLOGICAL ADVANCES HAVE PROVEN TO BE ESSENTIAL TO
RESPOND TO THE REQUIREMENTS OF CLIMATIC ADVERSITIES AND
RESILIENTARCHITECTURAL DEVELOPMENTS, BUILDINGINTHEHEIGHTSHAS
SHOWN TO BE THE MOST ECONOMIC TO OPERATE UNDER SUSTAINABLE
PARAMETERS.
VERTICALITY

IRISBAY TOWER
DUBAI-UAE
 SUSTAINABLE INTEGRATION: THE
ASPIRATION OF FUTURE’S ARCHITECTURE
“URBAN FOREST” DEVELOPMENT
ARCHITECTS NOWADAYS COMPETE TO BUILD THE GREENEST
SKYSCRAPER, LITERALLY AND FIGURATIVELY SPEAKING. KOICHI TAKADA
STRIVESTO PROJECT A SPACE WHERE, INHISWORDS, “THEWORLD CAN
RECONNECT WITH A MORE NATURAL, INTUITIVEAND CONSCIOUS
FUTURE.” IN HISPROJECT “URBAN FOREST”, HE INTENDS TO BUILD
AUSTRALIA’S GREENER BUILDING IN A 30-STORY MIXED-USE RESIDENTIAL
TOWER.
“URBAN FOREST” DEVELOPMENT

”URBAN FOREST” PROJECT

BY KOICHITAKADA
 SUSTAINABLE INTEGRATION: THE
ASPIRATION OF FUTURE’S ARCHITECTURE
RESTORATION
WHEN WE TALK ABOUT SUSTAINABILITY, WE TEND TO FORGET ABOUT
RESTORATION. AND THE THING IS,RESTORATION ISA SUSTAINABLE ACT
PER SE, AND ITSROLE IN THE SHAPING OF A CITY ISCRUCIAL.
ARCHITECTURE SHOULD BE CONCEIVED AS HERITAGE AND AMBITION
WORKING IN SYNERGY TO ‘EXPLAIN’ THE STORY OF A PLACEMARKED BY
A CULTURE.
 SUSTAINABLE INTEGRATION: THE
ASPIRATION OF FUTURE’S ARCHITECTURE
SOCIAL HOUSING
HOUSING HASBEEN ONE OF THEMOSTDISCUSSED TOPICSIN
CONTEMPORARY ARCHITECTUREEVER SINCETHE INDUSTRIAL
REVOLUTION. FROM LECORBUSIERTO ALVAR AALTO, EVERY ARCHITECT
HAS TRIED IN THEIR OWN WAYS TO SOLVE THE SEEMINGLY UNSOLVABLE
PROBLEM OF OVERPOPULATION AND DENSITY BY THECONSTRUCTION
OF SOCIAL HOUSING. FOR WHAT ISWORTH, TODAY THE CONCEPTION
OF THESESPACES HAVE PROVEN TO BEA GREAT OPPORTUNITYTO DEAL
WITHTHESETOPICS AS THEYOFFER THECITY A RENEWED MEANING.
SOCIAL HOUSING
 CULTURE
CULTUREISDEFINEDAS THEIDEAS,CUSTOMS AND SOCIAL BEHAVIOR OF
PARTICULAR PEOPLE OR SOCIETY. THE BEHAVIORS WE ARE
ACCUSTOMED TO AND HAVE BEEN TAUGHT ARE THE FACTORS
DETERMININGTHEKINDOF SPACES WE NEED TO LIVEIN.

CULTURESHAPING ARCHITECTUREISA VERY INHERENTCONCEPT.BUTWE

USUALLY TEND TO OVERLOOKTHISCONCEPTOR IDEA.
 CULTURE
ARCHITECTURE ISTHE DESIGNING OF SPACE TO FULFILL CERTAIN
FUNCTIONSBASED ON THE NEEDSOF THE USERS. THEUSER’SNEEDSARISE
BASED ON THEIRACTIVITIES, WHICH ARE ALL WELL DEFINED BY THEIR
CULTURE.THEIRPRACTICES AND BELIEFSDICTATEWHAT THEIRLIVING AND
GATHERING SPACES SHOULD BELIKE.AT TIMES,ARCHITECTUREBECOMES
A DIRECTEXPRESSIONOF CULTUREAND/OR BELIEFS.
 CULTURE
AMONG THE FOREMOSTTHINGSTHATDECIDETHEROLE OF
ARCHITECTURE OR SPACE, CULTURE PLAYS A VERY SIGNIFICANT ROLE.
THE LOCATION OF A SPACE, THE SIZEREQUIRED FOR THAT FUNCTION
AND THE WAY THROUGH WHICH ITCONNECTSALLARE AIDED BY THE
BASICCULTURAL SIGNIFICANCESPACE ISBEING DESIGNEDFOR. SPACE
AND CULTURE ARE INTERLINKED TOGETHER TO THE EXTENT THAT SPACE
CANNOT BE ANALYZED WITHOUT THAT FACTOR COMING INTO PLAY.
FIRST, SPACE ISFORMED BASED ON CERTAIN CULTURALREQUIREMENTS,
LATER ITMAY EVEN INFLUENCESOME CHANGESIN THE EXISTING
CULTURE.
CULTURE

SAMPLES
THE ANCIENT TEMPLES OF SOUTH INDIA MAKE THISFACT VERY EVIDENT.
THEY HAVE A PRAKARA, THE CIRCUMAMBULATORY PATH AROUND THE
MAIN IDOL, TO FULFILLTHEPRACTICE OF GOING AROUND THEIDOL THAT
ISTHETRADITIONOF THEHINDUPEOPLE. THEYALSO
HAVE NATYAMANDAPAS IN FRONT OF THE MAIN VENERATION AREA TO
PROVIDE AS A STAGE FOR DANCES. THESEDANCES SERVED THEPURPOSE
OF COMMUNICATING SOME PRINCIPLESOF RELIGION.THEINSCRIPTIONS
ON THE TEMPLE’S UPAPITHA (THE PORTION ABOVE THE PLINTH, CLEARLY
DEMARCATED ON THE FAÇADE) ALSO TELL STORIES. THE NEED FOR THIS
PORTION OF THE WALL TO BE WELL DEMARCATED ARISES FROM THE
CULTUREOF TELLING STORIESTHROUGH STORIESTHATARE USUALLY
WRITTENON THISPART. IFTHEARCHITECT ISNOT AWARE OF THESEFACTS,
THEN A TEMPLE THAT DOESN’T FULFILL THESE PURPOSES WOULD BE
PRODUCED, HENCE DEFEATING THE PURPOSE OF THE TEMPLE ISA
LEARNING SPACE. THEY ARE RAISED TO SUCH GREAT HEIGHTS THAT THEY
ARE MADE VISIBLEFROM LONG DISTANCES, TO REMIND ALL PEOPLE
LIVING IN THE VICINITY OF THE GODS.
IN ANCIENT GREECE, THE PEOPLE WERE RIGOROUSLY ENGAGED IN
PUBLIC DEBATES ABOUT PHILOSOPHY, MYTHOLOGY, AND SCIENCE. IT
WASCONSIDERED A PARTOF BEING GREEK. THATISWHERE THE FAMOUS
GATHERING PLACE OF THE AGORAS WAS BORN. A PLACE FOR PUBLIC
GATHERINGS TO EXPRESS THEIR THOUGHTS AND CONSEQUENTLY
BECOME A PART OF THAT SOCIETY. THE AGORAS ARE WHAT TURNED
INTO PUBLIC SQUARESAND CAN BE SEEN EVEN TODAY IN MAJOR CITIES
MODELED AFTER CLASSICAL CITYCENTERS.
IN ANCIENT ROME, THE CONCEPT OF THE PANTHEON, WHERE ALL THEIR
GODS WERE SITUATEDAT AN EQUIVALENT POSITION INCOMPARISON TO
EACH OTHER, SHOWED THEIR STRONG BELIEF IN POLYTHEISM. THEY HAD
TRANSFORMED THE IDEA OF 12 EQUAL BEINGS INTO SPACE AND
ARCHITECTURE. THE RESULT WAS A CIRCULAR ACE WITH 12 NICHES AT
EQUAL DISTANCES. AND THEY DECORATED THE WAY THEY KNEW BEST,
WITHCLASSICAL ROMAN PROPORTIONS AND ORDERS.TODAY ITSTANDS
ASTHESYMBOLFOR ANCIENTROME AND CLASSICALARCHITECTURE.
THEWELL-RENOWNED VASTU SHASTRA,THERULESAND REGULATIONS
FOR SPACE AS DICTATEDBY THEHINDURELIGION ISBEING FOLLOWED BY
THE HINDU PEOPLE. THE CHINESE HAVE THE FENGSHUI OR CHI. ALL THESE
RULES OR INSTRUCTIONS HAVE BEEN DRAFTED IN ACCORDANCE WITH
THE CULTURAL PRACTICES OF THE PEOPLE FOLLOWING THAT RELIGION.
THESE WERE MADE TO MAKE SURE THAT PEOPLE FOLLOWED THEIR
CULTURE. THESE INSTRUCTIONS ARE LOOKED AT FROM A SACRED POINT
OF VIEW, EVEN TODAY.