Dk ching summary notes architecture form space and order PDF

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FRANCIS D.K. CHING – ARCHITECTURE FORM, SPACE AND ORDER SUMMARY NOTES CHAPTER 1 – PRIMARY ELEMENTS OF FORM o Each element is first considered as a conceptual element, then becomes a visual element in architectural design. Prime generators of form are:  Point – indicates a position in space  Line – with length, direction and position  Plane – with length, width, shape, surface, orientation and position  Volume – with length, width and depth, form and space, surface, orientation, position  Point – can be stable (centered) or aggressive (off-center) which creates visual tension.  Line – described by two points connected; can be considered as a segment of a longer path; can suggest an axis; can describe direction, movement or growth; can have different qualities; the configuration of linear elements can define planes which can also define a space.  Note: an axis is an ordering device to organize building forms and spaces  Vertical linear elements are used to commemorate significant points – i.e. columns, obelisks, towers.  Plane – line extended in a direction other than its intrinsic direction. Shape is the primary identifying characteristic of a plane which is determined by the contour of the edges. The true shape of a plane can only be view frontally. It serves to define the limits or boundaries of a volume.  Supplementary properties – surface color, pattern and texture (which affects the visual weight and stability).  Three generic types of plane in architecture: overhead plane, wall plane and base plane. The ground plane influenced much in architecture (topography) as well as the floor plane.  Volume – plane extended in direction other than its intrinsic direction; consisting of points or vertices, lines or edges and planes or surfaces; can be solid that has a mass or a void.  Note: Form is the primary identifying characteristic of a volume.  Plan and section – space defined by wall, floor and ceiling or roof planes.  Elevation – space displaced by the mass of a building. CHAPTER 2 - FORM  Form – the formal structure of a work (in art and design), the manner of arranging and coordinating the elements and parts of a composition so as to produce a coherent image. It suggests reference to both internal structure and external outline and the principle that gives unity to the whole.  The visual properties of form include:  Shape – the characteristic outline or surface configuration of a particular form, a principal aspect in identifying and categorizing forms. Perception of shape depends on the visual contrast of the figure ground and background. We attribute shapes to different architectural elements such as floors, walls, ceiling, window openings, sillhouttes and building forms.  The primary shapes are circle, triangle and square.  Circle – centralized, introverted figure, normally stable and self-centering.  Triangle – signifies stability; stable on its side, dynamic on its corners  Square – represents pure and the rational, bilaterally symmetrical figure with two equal and perpendicular axes.  Size – determined by the physical dimensions which also determine the proportion.  Scale – determined by size relative to other forms in its context  Color – phenomenon of light and visual perception, most clearly distinguishes the form from its background and also affect the visual weight  Texture – visual and tactile quality due to the surface configuration, also determines the reflectance or absorption of light  The relational properties of form which govern the pattern and compositions of elements include:  Position – location of form relative to environment or the visual field

Orientation – direction of form relative to the ground plane, compass points, other forms or the person viewing it  Visual Inertia – degree of concentration and stability of a form which depends on its geometry and orientation Surfaces – any figure with two dimensions and can also refer curved two-dimensional surfaces that defines the boundary of a 3D solid (i.e. curved surface of a cylinder). Curved surfaces have fluid quality, can be symmetrical (i.e. domes and barrels) or asymmetrical. Curved surfaces include:  Cylindrical surfaces – generated by sliding a straight line along a plane curve or vice versa; also regarded a translational or ruled surface.  Translational surfaces – generated by sliding a plane curve along a straight line or over another plane curve.  Ruled surfaces – generated by the motion of a straight line; easier to construct.  Rotational surfaces – generated by rotating a plane curve about an axis (i.e. sphere).  Paraboloid surfaces – contains planar intersections that are either parabolas and ellipses or parabolas and hyperbolas.  Parabolas – plane curves generated by a moving point that remains equidistant from a fixed line and a fixed point not on the line.  Hyperbolas – plane curves formed by the intersection of a right circular cone with a plane that cuts both halves of the cone.  Hyperbolic paraboloid surfaces – generated by sliding a parabola with downward curvature along a parabola with upward curvature or by sliding a straight line segment with its ends on two skew lines; also considered as both translational and ruled surface.  Saddle surfaces – with upward curvature in one direction and downward on perpendicular direction; basically a double curved surface.  Shell structure – a structural system that uses double curved surfaces and usually made of thin, plates of reinforced concrete. It transmits forces by compressive, tensile and shear stresses acting in the plane of the curved surfaces (i.e. Los Manantiales Restaurant by Felix Candela, made of 8 hyporbolic paraboloid segments).  Gridshell structure – pioneered by Russian engineer Vladimir Shukhov which also rely on double curved geometry but made of grid or lattice. It also relies on computer modelling programs for irregular curved surfaces. Primary solids – are volumetric forms generated by extending or rotating the primary shapes and which creates a distinct, regular and easily recognizable forms.  Sphere – generated by revolving semicircle about its diameter and all points are equidistant from the center; centralized and highly concentrated; also self-centering and normally stable; retains its circular shape from any direction.  Cylinder – generated by revolving a rectangle about one of its sides; centralized about the axis; stable if resting on the circular sides and unstable if the central axis is incline from the vertical.  Cone – generated by revolving a right triangle about one of its sides; highly stable when resting on circular side and unstable on its tips.  Pyramid – polyhedron having a polygonal base and triangular faces meeting at a common point or vertex; stable on any of its faces; basically hard and angular compared to the soft cone.  Cube – a prismatic solid bounded by six equal square sides with right angles of intersection; static form without apparent movement. Regular and Irregular Forms – both can be generated from transformations of forms, and can be both used in building forms in multiple ways.  Regular Forms – with parts related in consistent and orderly manner, generally stable in nature, symmetrical about one or more axes (i.e. sphere, cylinder, cone, cube and pyramid)  Irregular Forms – with parts that are dissimilar in nature and related in inconsistent manner, generally asymmetrical and more dynamic. Transformation of Forms – All other forms can be understood to be transformations of the primary solids or variations of its dimensions.  Dimensional transformation – altering one of its dimensions, results in the same familiar form. 

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Subtractive Transformation – subtracting a portion of its volume, may or may not retain its initial identity; also known as mutilated forms; ambiguity of the original form results if the portion removed from its volume erodes its edges and alters the profile;  Additive Transformation – by addition of elements to its volume, may or may not retain its initial identity.  The basic possibilities for grouping two or more forms are:  Spatial tension – relies of close proximity of the forms or sharing common trait such as shape, color or material  Edge-to-edge contact – share common edge and can pivot about that edge  Face-to-face contact – requires that the two forms have corresponding planar surfaces which are parallel to each other.  Interlocking volumes – the forms interpenetrate each other’s space, the forms need not share any visual traits.  Additive groupings of forms or categories of additive forms according to the nature of their relationship that exist among the components (basically similar with spatial organizations):  Centralized Form – secondary forms clustered about a dominant central parentform; requires the visual dominance of a geometrically regular and central form such as sphere, cone or cylinder; ideal as freestanding structures isolated within their context; can embody sacred or honorific places.  Linear Form – series of forms arranged in a row or proportional change in the form’s dimensions; can be segmented or curvilinear; can front on or define an edge; can be manipulated to enclose a space; can be oriented vertically as a tower element to establish or denote a point in space; can serve as organizing element with attached secondary forms. Examples are agora, tree-lined canals, mile-high tower by FLW.  Radial Form – linear forms extending outward from central form in a radial manner; basically combination of centrality and linearity; can create a network of centers linked by linear forms; form is best viewed from aerial view.  Clustered Form – collection of forms grouped together by proximity or the sharing of common visual trait or function; it lacks geometric regularity and introvertness of centralized form but it is flexible for different types of forms; can be organized by attachment to a larger component, related by proximity or interlock with other volumes.  Grid form – set of modular forms related and regulated by a three-dimensional grid which is a system of two or more intersections of the grid lines; most common grid is based on squares which is nonhierarchical and bidirectional and can be projected to create a spatial network of grid (3D). Formal Collisions of Geometry – when two different forms collide each other boundaries, tension for visual supremacy and dominance is created which the following forms can evolve:  Two forms subverting their individual identities and create a new form  One of the form receives the other totally within its volume  Two forms can share volumes and still retain their individual identities  Two forms can separate and be linked by a third element  Forms with different orientation can also be incorporated into a single form for different effects such as for accentuating, to generate contrast, to articulate, to reinforce symmetry or respond to contrasting geometries of the surroundings. Examples are circle and squares and rotated grid. Articulation of Form – the manner in which the form surfaces come together to define its shape and volume which clearly reveals the precise nature and relationships of parts and the whole; making the surfaces appear discrete planes with distinct shapes and legible and easily perceived; accentuating the joints between parts to express their individuality.  Articulation of form can be done by:  differentiating adjoining planes with change in material, color, texture and pattern  developing corners as distinct linear elements independent of the abutting planes 

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 removing corners to physically separate neighboring planes  lighting the form to create sharp contrasts in tonal value and along edges/corners To de-emphasize joints and joinery (in contrast to articulation):  the corners can be rounded and smoothed to emphasize continuity of surfaces  similar materials, color or texture carried across the corner or adjoining surfaces Edge conditions is critical to the definition and clarity of a form. The angle of the corners is important in the perception of the adjoining surfaces. A slight bent on the wall may not create a formally active corner that can be perceived.  If the corner or edge is unadorned, the presence of corner depends on the visual treatment of the adjoining surfaces and will only emphasize the volume of the form.  If the corner becomes a distinct element independent from the surfaces, the linear condition of the corner is visually reinforced and becomes a feature of the form.  If opening is introduced to one side of the corner, one of the planes will appear to bypass the other. The corner and the definition of the volume is weakened which now instead emphasize the planar qualities of surfaces. The effect is the same if two planes are neither extended to define the corner.  If the corner is rounded off, the continuity of the bounding surfaces of the form is emphasized along with the compactness of volume and the softness of contour. It the curvature radius is small, the corner becomes visually insignificant and if too large, it affects the interior spaces and exterior appeal. Surface Articulation – perception of space is influenced by the surface properties and visual context. Surface can be clarified by distinct contrast, by viewing from the front, by putting familiar objects within its visual context to perceive size and scale, by differentiating color and texture or by optical patterns that can distort the shape or exaggerate the proportions of a plane. Some examples of surface articulation include:  Linear elements on the surfaces such as sun-shading devices, linear textures etc.  Pattern of openings and cavities  Characteristics of materials used (smooth or rough)

CHAPTER 3 – FORM AND SPACE  Space is created, enclosed, molded and organized by the spatial boundaries defined by elements of form.  Visual field is understood by organizing its elements into two opposing groups – positive elements (figures) and negative elements (background). Our understanding of compositions depends on our visual field and the interaction of its elements. We recognize a figure because its profile is distinct, it contrasts with or isolates from the background. Remember that the positive elements (figures) will not exist without a contrasting background.  Architecture form occurs at the juncture between mass and space. The symbiotic relationship of the forms of mass and space in architecture can be examined and found to exist at several different scales (room scale to urban scale). Buildings can define a space, can be an object within a space, embedded or dominating in a landscape space, etc.  At the scale of buildings, wall configurations are the positive elements of a plan. The form and enclosure of each space in a building either determines, or is determined by, the form of the spaces around it.  A three-dimensional form naturally articulates the volume of space the volume of space surrounding it and generates a field of influence or territory which it claims as its own. Horizontal and vertical elements of form generate different types of spaces.  Horizontal Elements Defining Space – horizontal elements can also define vertical boundaries implicitly.  Base Plane – simple figure contrasted from the background, with continuous flow around  Elevated Base Plane – creates specific domain within a larger context, flow is interrupted; depending on the height, visual continuity and spatial continuity may be interrupted; can be natural or artificially constructed; can act as transitional space to the interior such as a porch or veranda;  Depressed Base Plane – different effects are produced by the height of the depressions. Examples are sunken plaza, step wells, sunken lobby or floors.

Overhead Plane – defines a space between itself and the ground plane; can define a discrete volume of space virtually by itself; columns can reinforce the spatial limits it creates; examples are roof plane (major building element) and ceiling plane. Vertical Elements Defining Space – has greater presence in our visual field than horizontal planes; provides a sense of enclosure, privacy and climatic protection; serves as structural supports for floor and roof planes.  Example configurations are vertical linear elements, single vertical plane, L-shaped planes, parallel planes, U-shaped planes, four planes (closed).  Vertical Linear Elements - A column within a defined volume of space will generate a spatial field about itself and interact with the spatial enclosure. It can assert itself as the center of the field when placed center in a space. Linear elements also define edges and corners which are important to establish the volume of spaces. Vertical linear elements can be arranged in multiple ways to define volumes, support overhead planes or terminate an axis (i.e. colonnades, tetrastyle, grids).  Single Vertical Plane – has frontal qualities and established the edges of two distinct spatial fields; but to define a dimensional volume of space, it must interact with other elements of form; vertical planes depend on its height by eye level to visually describe space.  L-shaped Vertical Plane – defines a field of space along a diagonal formed from its corner outward; ther other edges are ambiguous; open-ended, flexible space-defining elements; one good example is a typical L-shaped houses with open courtyard  Parallel Vertical Plane – defines a field of space between them; has directional quality and axis; extroverted in nature; openings introduce secondary axes to the field and modulate the directional quality of the space; corresponds naturally to circulation movement; examples are parallel interior walls, streets, colonnade, promenade etc.  U-shaped Planes – with inward focus and outward orientation; secondary zones are created when openings are provided at the corners; has inherently the ability to capture and define outdoor space; has specific orientation towards the open ends;  Four Planes (Closure) – most typical and strongest type of spatia definition, natural introverted; appears in multiples scales from rooms to urban scale; examples are building skins, thin shells, diagrid which enclose building spaces Openings – provide spatial and visual continuity, establish visual relationships between adjacent spaces.  Locations of Openings  Openings within Planes  At corners – provides diagonal orientation  Between planes  Effect of Openings on the Qualities of Architectural Space - The spatial qualities of form, proportion, scale, texture, light and sound depend on the properties of the enclosure of a space. The size, shape and location of openings affecr the degree of enclosure (form of the space), view or outlook (focus of the space) and light (illumination of its surfaces and forms).  Degree of Enclosure – determined by the configuration of defining elements and the pattern of openings;  Openings within the wall planes do not weaken the edges and the sense of enclosure  Openings located along the edges weaken the corners and the volume boundaries, but promote visual continuity and interaction with adjacent spaces750mm  Openings between the surrounding planes isolate them and articulate their individuality  Light – animates the space of the room and articulates the forms within it; the amount of openings is regulated by multiple factors such as climate, materials, code requirements, privacy and exterior effect; provision and regulation of light can be done by sun-shading devices, orientation of windows and buildings; the articulation of the openings also affect the quality of light such as the design and pattern of the windows.  View – considering focus and orientation; different configuration of openings provide different views. 

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CHAPTER 4 - ORGANIZATION

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Spaces in a building are not usually solitary and are instead composed of a number of related spaces and organized by function, proximity or movement. Spatial Relationships – Spaces can...