Module_002_part2.pdf

ART 101 BY: ARCH. MYREN C. DORADO  SUBJECT OUTLINE ▪ M1 Introduction: Theory of Architecture ▪ M2 Elements of Design, Form, Space ▪ M3 Kinaesthetic Quality of Space/ Circulation ▪ M4 Anthropometrics; Scale and Proportion ▪ M5 Chromatic Energy of Architectural De...

ART 101 BY: ARCH. MYREN C. DORADO  SUBJECT OUTLINE ▪ M1 Introduction: Theory of Architecture ▪ M2 Elements of Design, Form, Space ▪ M3 Kinaesthetic Quality of Space/ Circulation ▪ M4 Anthropometrics; Scale and Proportion ▪ M5 Chromatic Energy of Architectural Design ▪ M6 Proxemics; Territoriality ▪ M7 Sign, Symbols, & Cultural Basis ▪ M8 Perception of Space ▪ M9 Design Process ARCHITECTURE FORM “Architectural form is the point of contact between mass and space … Architectural forms, textures, materials, modulation of light and shade, color, all combine to inject a quality or spirit that articulates space. The quality of the architecture will be determined by the skill of the designer in using and relating these elements, both in the interior spaces and in the spaces around buildings”. Edmund N. Bacon The Design of Cities 1974 FORM ▪ FORM is an inclusive term with that has several meanings. It may refer to an external appearance. It may also allude to a particular condition in which something acts or manifest itself. FORM ▪ Form refers to the shape or configuration of a building. ▪ Form and its opposite, space, constitute primary elements of architecture. The reciprocal relationship is essential, given the intention of architecture to provide internal sheltered space for human occupation. FORM ▪ In Architecture, form denote the formal structure of a work – the manner of arranging & coordinating the elements and parts of a compositions so as to produce a coherent image. The Guggenheim Museum Bilbao VISUAL PROPERTIES OF FORM ▪ SHAPE ▪ SIZE ▪ COLOR ▪ TEXTURE VISUAL PROPERTIES OF FORM ▪ SHAPE ▫ The characteristic outline or surface configuration of particular form. ▫ It is the principal aspect by which we identify and categories forms. Cube Building/Kockica Building in Zagreb, Croatia Axa Tower in Singapore Louvre Museum in Paris, France Shape depends on the degree of visual contrast that exists along the contour separating a figure from its ground or between a form and its field. Shape depends on the degree of visual contrast that exists along the contour separating a figure from its ground or between a form and its field. VISUAL PROPERTIES OF FORM ▪ SHAPE ▫ In Architecture, we are concerned with the shape of: ▫ Floor, wall, ceiling planes that enclose space ▫ Door and window openings with a spatial enclosure ▫ Silhouettes and contour of building forms VISUAL PROPERTIES OF FORM ▪ SIZE ▫ The physical dimensions of length, width and depth of form while these dimensions determine the properties of form, its scale is determined by its size in relative to other form in its contexts. Union Square West, Manhattan, New York VISUAL PROPERTIES OF FORM ▪ COLOR ▫ A phenomenon of light and visual perception that may be described in terms of an individual’s perception of hue, saturation, and tonal value. ▫ Color is the attribute that most clearly distinguishes a form from the environment. It also affects the visual weight of a form. Blood Center at Raciborz, Poland Kindergarten School, China Blue Condominium Building, New York VISUAL PROPERTIES OF FORM ▪ TEXTURE ▫ The visual and especially tactile quality given to a surface by the size, shape, arrangement and proportion of the parts. Texture also determines the degree to which the surface of a form reflect or absorb incident light. Atelier Bardill, Scharans, Switzerland Concrete Riffles Living Madrid by Wiel Arets Architects, Madrid, Spain RELATIONAL PROPERTIES OF FORM Forms also have relational properties which govern the pattern and composition of elements: ▪ POSITION ▪ ORIENTATION ▪ VISUAL INERTIA RELATIONAL PROPERTIES OF FORM ▪ POSITION ▫ The location of a form relative to its environment or the visual field led within which it is seen. ▪ ORIENTATION ▫ The direction of a form relative to the ground planer, the compass points, other forms or to the person viewing the form. ▪ VISUAL INERTIA ▫ The degree of concentration and stability of a form. The visual inertia of a form RELATIONAL PROPERTIES OF FORM ▪ POSITION ▫ The location of a form relative to its environment or the visual field led within which it is seen. RELATIONAL PROPERTIES OF FORM ▪ ORIENTATION ▫ The direction of a form relative to the ground planer, the compass points, other forms or to the person viewing the form. RELATIONAL PROPERTIES OF FORM ▪ VISUAL INERTIA ▫ The degree of concentration and stability of a form. The visual inertia of a form depends on its geometry as well as its orientation relative to the ground plane, the pull of gravity, and our line of sight. PROPERTIES OF FORM All of these properties of form are in reality affected by the conditions under which we view them. ▪ A changing perspective or angle of view presents or aspect of a form to our eyes. ▪ Our distance from a form determines its apparent size ▪ The lighting condition under which we view a form affects the clarity of its shape and structure. ▪ The visual fields surrounding a form influences our ability to read and identify it. TRANSFORMATION OF FORM ▪ Dimensional Transformation ▪ Subtractive Transformation ▪ Additive Transformation TRANSFORMATION OF FORM All other forms can be understood to be transformations of the primary solids, variations which are generated by the manipulation of one or more dimensions or by the addition or subtraction of elements. ▪ DIMENSIONAL TRANSFORMATION ▪ SUBTRACTIVE TRANSFORMATION ▪ ADDITIVE TRANSFORMATION TRANSFORMATION OF FORM ▪ Dimensional Transformation ▫ A form can be transformed by altering one or more of its dimensions and still retain as a member of a family of a form. A sphere can be transformed into any number of ovals or ellipsoidal forms by elongating it along an axis A pyramid can be transformed by altering the dimensions of the base, modifying the height of the apex or tilting the normally vertical axis. A cube can be transformed into similar prismatic form by shortening or elongating its height, width or depth. Unité d’Habitation, Firminy-Vert, France Le Corbusier TRANSFORMATION OF FORM ▪ Subtractive Transformation ▫ a form can be transformed by subtracting a portion of its volume. ▫ Depending on the extend of the subtractive process, the form can retain its initial identify or to be transformed into a form of another family.  Because they are easily recognizable, simple geometric forms, such as the primary solids, adapt readily to subtractive treatment. These forms will retain their formal identities if portions of their volumes are removed without deteriorating their edges, corners, and overall profile. Ambiguity regarding the original identity of a form will result if the portion removed from its volume erodes its edges and drastically alters its profile. In this series of figures, at what point does the square shape with a corner portion removed become an L- shaped configuration of two rectangular planes. Gwathmey Residence, Amagansett, New York TRANSFORMATION OF FORM ▪ Additive Transformation ▪ A form can be transformed by the addition of elements to its volume. The nature of the additive process and the number and relative sizes of the elements being attached determine whether the identity of the initial form is altered or retained. TRANSFORMATION OF FORM ▪ Additive Transformation ▫ Basic possibilities of grouping for two or more forms ▫ SPATIAL TENSION ▫ EDGE TO EDGE CONTACT ▫ FACE TO FACE CONTACT ▫ INTERLOCKING VOLUME TRANSFORMATION OF FORM ▪ Additive Transformation ▫ Basic possibilities of grouping for two or more forms ▫ SPATIAL TENSION This type of relationship relies on the close proximity of the forms or their sharing of a common visual trait, such as shape, color, or material. TRANSFORMATION OF FORM ▪ Additive Transformation ▫ Basic possibilities of grouping for two or more forms ▫ EDGE TO EDGE CONTACT In this type of relationship, the forms share a common edge and can pivot about that edge. TRANSFORMATION OF FORM ▪ Additive Transformation ▫ Basic possibilities of grouping for two or more forms ▫ FACE TO FACE CONTACT This type of relationship requires that the two forms have corresponding planar surfaces which are parallel to each other. TRANSFORMATION OF FORM ▪ Additive Transformation ▫ Basic possibilities of grouping for two or more forms ▫ INTERLOCKING VOLUME In this type of relationship, the forms interpenetrate each other’s space. The forms need not share any visual traits. Il Redentore, Venice