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Two quantities are in the golden ratio if the ratio of the sum of the quantities to the larger quantity is equal to the ratio of the larger quantity to the smaller one. 

The first example of the golden ratio in the average human body is that when the distance between the navel and the foot is taken as 1 unit, the height of a human being is equivalent to 1.618

Some other golden proportions in the average human body are:

• The distance between the finger tip and the elbow / distance between the wrist and the elbow,
• The distance between the shoulder line and the top of the head / head length,
• The distance between the navel and the top of the head
• the distance between the shoulder line and the top of the head
• The distance between the navel and knee / distance between the knee and the end of the foot.

Axis

A Line established by two point in space about which form and spaces can be arranged in symmetrical and balanced manner

Symmetry

The balanced distribution and arrangement of equivalent forms and spaces on opposite sides of dividing plane or about a center axis

Hierarchy

The articulation of importance and significance of form or space by its size shape and placement relative to other forms and spaces of organization

Rhythm

Unifying movement characterized by patterned repetition or alteration of formal elements or motifs in same or modified forms

Datum

A line plane or volume that , by its continuity and regularity , serves together , measure and organize a pattern of form and spaces.

Transformation

The principle that an architectural concept or organization can be retained, strengthened and built upon through a series of discrete manipulation and transformations.

INDUCE MOVEMENT

The axis is a linear condition , it has qualities of length and direction and induce movement and views along its path

Termination At Both Ends

Reinforced By Defining Edges

Established By Symmetrical Arrangement

Decon follies (like Tschumi’s pavilions at La Villettein Paris) seek to promote dislocation, not provide cosy shelter. Decon is mostly paper architecture, in which many of designs published in magazines are clearly unbuildable: girders projecting at weird angles into air, beams that pierce space like pins in a voodoo doll, and columns without function seem to violate laws of gravity.

At the age of eleven in her native Iraq, Zaha Hadid (b.1950) decided to be an architect. During her training in London, she became obsessed with the unfulfilled potential of Russian Constructivists, pioneers of Modernism in the 1910s and ’20s. “We can’t carry on as cake decorators and do these nostalgic buildings that have an intense degree of cuteness; we have to take on the task of investigating modernity,” Hadid told an interviewer.

This whole idea of liberation from gravity is not because you are flying around in the air, but because you are freed from confining laws and conventions, and can make a fundamentally new kind of space,” Hadid explained in a 1992 interview. Her free forms and slicing axes convey a sense of thrust like the sharp fins of a 1950s Cadillac. Her diagonals and dislocations compromise what Hadid futuristically calls “planetary architecture.”

Eventually he built several uninhabitable houses designated by Roman numerals to showcase his theories. House VI (1978) has a master bedroom with a floor split by a fissure where the marital bed would go. The void, for Eisenman, symbolizes the vacuity of contemporary culture. (Within ten years, the house had to be completely renovated by its owner.)

Eisenman is convinced that discomfort is vital to the experience of architecture. “Most people want architecture to remain casual,” he said. “My work is about making it uncasual.” Warping space so the viewer feels destabilized is how he awakens our senses to generate a fresh response. By undermining our comfort index, Eisenman jolts us out of boredom or indifference.

Intensely cerebral, Eisenman was an eminent provocateur in the 1980s, the high priest of Deconstructivism. Notorious for having two psychiatrists—one on the East Coast and one on the West—his neuroses and high anxiety are translated directly into his work. At the end of the 1990s, Eisenman entered a new phase. Enthusiastic about the capacity of computer-assisted design to generate expressionistic forms, he leapt on the bandwagon of sculptural form. To explain why he dumped Decon, Eisenman said, “There will always be four walls in architecture.” he hoped to create a “fluid architecture” with a “gelatinous quality” evoked by computer morphing.

• For Charles Moore (1925-1993), an archetypal Post-Modernist who heaped on multiple allusions, more was never enough.
• An outspoken opponent of anonymous bedroom suburbs and interchangeable cities, Moore wanted architecture to recapture a lost ―sense of place. each commission was an opportunity to highlight what the ancients called ―genius loci,or special attributes of a site.
• Moore‘s Sea Ranch housing (1965-72) on the California coast was an extreme example of ecological architecture.
• The houses modeled on local barns, are nestled into the site, sheltered from the prevailing wings.
• Slanted woods both deflect wind and collect sun

Moore stressed the need for “joy” in architecture. A MIX of historical forms, in his relation to high and low culture.

• Moore refer indirectly to historical motifs only to put-on them. His capitals consist of water jets shaping Corinthian ―leaves
• Stainless-steel Ionic volutes and streams of water flowing down columns to suggest fluting are a naughty takeoff on Classical style. In a high-camp parody, medallions shaped like Moore‘s head spout water

• Each side of the building has slightly different designs. The form of the upper few floors are designed as a sloping pyramid. The building is famous because of the flat pink granite that covered the exterior façade.
• The loggia on the building‘s north facade is respectful to the older downtown architecture, and in a way continues the store front line of the original street fabric.

• Venturi designs this building for his mother. The design of the building embodies several “complexities and contradictions”: it is both complex and simple, open and closed, big and little
• some of its elements are good on one level and bad on another
• Its order accommodates the generic elements of the house in general, and the circumstantial elements of a house in particular.
• It achieves the difficult unity of a medium number of diverse parts rather than the easy unity of few or many motival parts

• The contradiction between inside and outside, however, is not total: inside, the plan as a whole reflects the symmetrical consistency of the outside; outside, the perforations in the elevations reflect the circumstantial distortions within.Concerning the inside,
• the plan is originally symmetrical with a central vertical core from which radiate two almost symmetrical diagonal walls that separate two end spaces in front from a major central space in back. This almost Palladian rigidity and symmetry is distorted, however, to accommodate to the particular needs of the spaces: the kitchen on the right, for instance, varies from the bedroom on the left.

Derived from Mies van der Rohe‘s Farnsworth House (1946–51) at Plano, IL, but more classical in plan, the Glass House attests to Johnson‘s naturally critical turn of mind and his preoccupation with history.

Johnson is best known for his Post-Modern structures, like AT&T (now Sony) building. This granite clad skyscraper sounded the death knell for minimalist glass boxes. With its Classical loggia at the base and Chippendale top, it certified the marketibility of Post-Modernism. It borrows elements and references from the past and reintroduces symbolism to architecture.

Dissonance (Inharmonious) as an Aesthetic Strategy:

In his vivacious and engaging design for the New Staatsgalerie (New State Gallery) in Stuttgart, Germany, James Stirling combined classical forms with bright green, pink, and blue painted elements and seemingly imbalanced lines meeting at awkward and unpredictable angles

Hermann Finsterlin’s  Formspiels depict the form of buildings turned into organic amorphous massings . It is beautiful work that translates to steel and titanium in buildings

• Erich Mendelsohn’s small, but powerfully modeled tower, built to symbolize the greatness of the Einsteinian concepts, was also a quite functional house. It was designed to hold Einstein’s own astronomical laboratory…

• Mendelsohn was after a completely plastic kind of building, moulded rather than built, without angles and with smooth, rounded corners. The total external effect was obtained by rendering the concrete / plaster as surface material . This ‘monument of architectural Expressionism’ is one of the most brilliantly original buildings of the twentieth century.”

1. Pilotis
2. Free Plan
3. Free Façade
4. Ribbon Windows
5. Roof Garden

• This double house designed in 1923 for Raoul La Roche and Albert Jeanneret, marks a milestone in the architectural reflection of Le Corbusier,
• The “five points” for composing the facade and ribbon windows are present, as well as the two-story spaces and balconies characteristic of the architect.

• Mies united sophisticated materials with a fluid open plan, which together endowed the space with an unprecedented modern elegance.
• The architecture’s mass is balanced by a pond (featuring a sculpture by Georg Kolb) and a shallow pool on either end

• The Pavilion was innovative in that the design called for the roof to be supported by chrome columns which meant that the walls could be freely positioned since they did not support the structure
• It was later dismantled but rebuilt in the 1980’s

• At the Illinois Institute of Technology. exposed, expressed steel frame, roof suspended from spanning I-beams.
• In the realized plan, clusters of buildings placed on a grade create a series of informal open spaces through a playful shifting of solid (i.e. buildings) and void (i.e. green space). A 24-foot square grid invisibly overlays the campus to guide its order.

• In 1944 Mies van der Rohe became a U.S. citizen. In 1946 he began work on the Farnsworth House a weekend retreat for doctor Edith Farnsworth.
• It’s one of the most minimalist houses ever designed being composed of a transparent box framed by eight exterior steel columns with a single room subdivided by partitions and completely enclosed in glass.

• School of architecture and design, Germany, 1919 – 1933
• All art forms should be designed as a unit
• Technology embraced
• Economy in the use of space, materials, time, and money
• Avoid Romantic embellishments