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    建筑 形式 空间和秩序 PDF

    Uploaded by

    Yvette Chen

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    © All Rights Reserved
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    of 399
    se St : FBX. 2 ABE (35 Architecture: Form, Space, & Order [Second Edition] #3 ffi (Francis D.K. Ching) / 3 SUDAEL 1 HE ABE He / BE AB wat 32 A (AAR BT eS at Ss x Lz Press ARCHIDATA Architecture: Form, Space, & Onder Copyright © 1996 by John Wiley & Sons, Ine. Al Rights Reserved. Authorized translation from the English language edition published by John Wiley & Sons, Inc. CER IER 21 ABE) AH L9G LAY AS REI RET aL He LH MLS FA: RAT RL SEA AICS BBARMA (CIP) Me HEAL. Bak, SABIE EE. RE RR KEM NEL, 2005. 5 ISBN 7-5618-2133-6 I. i. 1. & Tl. eto IL, SP ERI RAS a SAE CIP HHA (2005) 4B 042354 BONE TIRERA RAE HL, wna FRET TLE 92 5 EAS AY (8B a : 300072), vow. tup com BATHE :022-27403647 tipsy .022-27402742, ACSC ZA EAT PRS) Fe ee SE 210mm x 285mm 25 1600 F 2005 4F 5 498 1H 2005 #5 AS 1 tk 1-5 000 80.00 76 a SESS SRR SHKEE> R ASORHSHR BARE E Architecture: Form, Space,& Order Preface to Chinese Edition am phased nl honored to hae the oporaniy to ads archi and design students nd fy inthe Poopl's Republi of Chi and oer my work sa way looking a nding, and enceptaizing fom and sac shy companets of aschiceure twas. year ap that wrt ania he ition hs et with th inetion of roving beginning sade witha clean stnghtovard guide o understanding fades and concen rite esign. This tansaton tony co- tina te rg emphasis on istrating cicealconcepsand oraniaionstrugh the wse foarte examples varios histo: periods and cules bu abo exes the dca to broadranddeseing ance hope ths work tly tacks bua) inspires the rear achieve the Highest sucess inthe endeaors Here als express my apeciato to Me Li dain inj nies Press and Ma Hones of Archi forth sting wo rng he making ofthis Chinesecdton. FrncisDsi-Kan Ching Profesor of Anitecture Univesity of Washington Seale Washington usa, GR: BK. BM ABE PC UR FE ROLE. WHR, ReATAL ES PERT Gwe eM RE 5, ISR LM AK. FEA AWA, RENAUD RS BRM EAR RR. eG. RAT TABOR A. FMA MRM, 1 AT ROAR MLA Tk. NMR, OLE TRAIAN, AEA RE MAS ESM TC ARN, ANE HRARS MARAE, MLASM LNA. ENA IMATE. RAGA ROC MMION, ILENE Rie AEA IH REPRE A ‘fm. eft, RIERA ERE A ARR IN H AMR A RP AT ext amen POLE WR, abet Row PREFACE ‘The original elton ofthis study intreduced the student of architecture to form and space and the principles that quid their ordering nthe bt envionment. Form an pace are the cic means of architectre tat comprice a desig vocabulary thats both elemental and vineless. Wie thisrevsion continues ba comprehenshe primer onthe ways form and space at inerelated and organized inte shaping of our enviroment has been rein by eiting the text and incorporating diagrams for greater clarity, ading selected examples of architectural works, expanding the sections on openings, starways and scale and ally, by Including glossary and an index to designers, Tis work continues to lustate the ways the fundamental elements ard principals of architectural design manestthemsehes over the course of human history These historical models span ime and cross cultural boundaries, White jotaposton of styles may appar tobe abrupt at times, the dverserange of examples is delterate The colageis intended to persuade the reader tolock forliknesses among seemingly uke constructions and rng into shaper focus the critical discon that eect the ine and place of their making, Readers ar encourage to take note of additonal examples encountered or recalled within the content of theirndvdual experiences. As the design elements and principles become more familia, new connection, relationships, and eels of meaning may be established. The tustrated examples are neither exhaustive nor necessary te potatypes forthe concepts and princes dscussed. Tht ‘lection merely eres to luminate and clarity the formal and spatial dea being enlored. These seminal des transcend thelr Historical context and encourage speculation: How might thy be analyzed, perceived, and experlenced? How might they be ‘transformed into coherent, useful, and meaningful structures of space and enclosure? How might they be reappld toa range of architectural problems? This manner of presentation attempts to promote amore evocative understanding of he architecture ore experiences, the architecture one encounters nitrate andthe architecture one imagines wie desing. ARALARWHKARAES LO PANAMTHASSR RE LOATARALPREM, BABTMAE EWRKER, CSTERGHANHLTED, LAPTROSL-OSEHANER, SH TERRA ROKEDAPIAMAKL, DELKDAKTM HABT, STAHRPARTAH ER, RORRAT XE BOT EA, POT ALURREN, LAT A ROSE THAT HBAS, Me wR AR SHH ALAREE RASUAAGTEASHAMOPRARHOEREE PANE OHARA. RERLRRER THR ORE AR GMGMAR, LEMGHATARTERELH, CHPSASHATHALM CHAM. RERTER AEH, LATUMAEEW TARAS ERMA, HEOLRR TORR DANY TAL, BHAA AGRTMAMER RADHA, AUMGRELR ABLES ABAPAIL MOL EEN, MERTEK Hie RMEARAR KD, PARINAERTA, HH EE AHTL SR, PPUASRRTN ATE LAR ER, EF-TMRANHEOBS RANA EME. RET TRAD TAMPRARINFRNPAMSOSMMS ALEAMEART RETR. HSAMERE: OH On RAPKOUERA? DULLERMAERSTN, FAY, SLETATH SHORE AAD OEE SREHRT-AARRAMR) ROPAEATAGARERTAOM AC HAEAAR, CLARE TH A AUAAMERHEREERNRR PREFACE / Vil ACKNOWLEDGMENTS | am indebted tothe following people for ther valuable contributions tothe orga cdtion ofthis wor Forrest Wilson, whose insights into the conmanication of design principles helped lary the organization of the material, and whose support made ts publication possible; James Tice, whose knowedge and understanding of architectural istry and theory strengthened the development ofthis stud: Noran Crowe whoce dligence and skin the teaching of architecture encouraged me to pursue this work; Roger Sherwood, hose esearchinto the organizational principles of fom fostered the = 4 4 — “Two pois further sugestan ais perpendicular to then they describe and about hich they are symmetrical. Because this ans maybe infin length it canbe at mes more dominant than the described ne. HASAACTHAMS LHR RORTAEANEA, FE S20GH RTRRAATHRERKH, ROL EAHR F TERMERMERRETERAB Inbotn cass, however the deecribedline ar the perpendicular als are opticaly more dominant than he init numberof ines that may pass ‘through ach of he individual pits BE, ERA#HA THER RAPER BR, CETL LER PR ALTERMAN ER SORA ER EES RS {5 ARCHITECTURE: FORM, SPACE, & ORDER RR: Ht, SMR Tae TWO POINTS “wo points established inspacebycolumar elements or centraiand ‘ors cat define ans. am ordering device weed trroughot history tworgate bul forms and spices, ASHTRAERERRPRERABRAA LA, TOR ASW, LERLEMAR RA, MRM ERR DLE Saas, Tori, Ise Shrine, We Freecture. Japan, AD. 620 Wh. PAAR, 288. 2x, COE Ina to piscandemieaasiony see RAT HERE slgnfying passage from one place to é _atothar, ended vertical, the two pnts defn otha pla of entry and an _agproach ‘The Mall, Washington, D.C les lng the ans stablshed by the Linc Memorial the Washington Menuet andthe United States Capt uldng ROAM. HOHE. SURES THR MERL. THT SRHASA PRE ESAR BAER PRMARY ELEMENTS |7 LINE & A poitetended becomes line Conceptual. a leas length, bum width or depth. Whereas a points by nature statin, in describing the path ofa point notion. capable of sual expressing direction, movement, nd growth, AMPWRS-8A WMObH, Sask A. WARTAMER, -PARRAR ATE PES. WFAN BABA Fee aS, £, EOERLLADHEA, Bape Alineis a critical element inthe formation of any visual constuction. ABET RENRRDREED, BEER ALE Ineansenete STAB o,0O + join ink, support, surround, or A inversec other vials 48. KE i BM | THRGHEER + describe the edges of ar give shape to planes | HETORE, AEB HT {8 ARCHITECTURE: FORM, SPACE, & ORDER Ba. BA. SaMRE + artclate the surfaces of planes RAP ERED we LINE [though line theoretical has only one denon, || ‘apreisericmonumert conisingofan Plaza Colonna ome, AD.TH4. Placed Conc Fs upright egal, usualy standing alonebut Tas india stat commemortes semetins aed withotbers. the emperor’ tery on Germanic ‘bes trthofthe Danube emneste ManeEMe aR -einheta, beENERE Bere. Fa, 1 es ATEGIN, RHAGK APHMBHEHEATRS ATES PeEMeeaRensze 10/ ARCHITECTURE: FORM, SPACE, & ORDER Hanne ‘Vertical tear elements can also define atransparet volume pice, n ‘he example ustrated othe ft, four mart towers outing a Sata feld romwich te dome of Hans Sophia rises splendor. aa hk. SHRM, Hak, BREEAM ERT MER Sultan Selln Mosque lira. Ee, AD.1568-1575 BARWARS, Bae, S7a8 LER, 159-175 RR. Ht. SmI Sd LINEAR ELEMENTS Lear nembersthat oes the mecstry mater stngthcan rerormtraceal fiction nthe res amps, ier eleerts + epessmovenetacoss pice rove apy er anal ple + forma three-dimensional structural frame forarchitectural space AKAEHHHREHMERE BE zhe, MERA ete ‘Salghatobel Bridge, Switzeriand, 1929-1980, Robert Malar Beans and grders hve the tending strength to spate pce between thelr supports and carry traverse ads, PRRARDRAW, @L, wme rome, RHHH HSEATENER. KERSRRUNKERHS WE RRM RE The sculptured female ques stand a columnar supports forte entabetre HRHB, PREM RHE, OF 2, qenee MEKReRom Rt aa 0S Caryatid Porch, The Etecthelo, Athen, 421-405 BL, Mnescles. | | TTT a TET Katsura Palace, Kyo Japar Teh century 4 Lear cums and beams together fom a thre-dmersoal framework for arcitectul pace aan, ce aeER PAMARY ELEMENTS /11 LINEAR ELEMENTS eee ‘line can bear imagine lemetratherthana isl on in archtacture, Pn examples than, a regain ne established tnybwodistantpoitsin space and abou hich ements are seta arranged ERAS, -PATURNSHE ANTES RENE HA UARL-TNT, CEESRPANRRORE ALAREHEMA, BERN MRT RAEI EN Vila Aldebrand, tly '598-1503, Gicoma Dilla Fots ABSZRRME, C44, I98E—IoE, CREA OE House 10,1966, Job jue EN, Imo, Lae Athouharcitecarl pace ostointhedimenioseanbeleorin Spa eRET=SEREE, EXOANREALH ‘erm to accommodate the path of movement through a building and ink its SPRRRHHZARA, ARKCASRA SM MRS spaces toe anther. dings also canbelnerin for partcdarty tien they const epettn spices np nga chclationgath, As stated her, lear ting forshae the abit to endose cote spaces aswel asadap tthe enironmertalcordtions fa ste ANDLATOEALH. HERR RAT ERERAE ARMADLES TOE hea LLL Cornell University Undergraduate Housing, Ithaca, New York, 194, Richard Meir MERAPABLOM, PEE, aA, IME, REM 12/ ARCHITECTURE: FORM, SPACE, & ORDER iM, est, SME ed LINEAR ELEMENTS ‘Town Hal, Siynateao, Find, 1950-1962. Alar Aalto BRE, FHRET, SE, 190E—10IE, AH ‘Ata smal scl, nes articulate theedges ud surfaces of pas and volumes. Ths ines can be qressed by ots wthin or been buds mately rames sound window odor openings eb a strctra gt co cols and teams How these liner elements affect the tecture of surf wil depend onteir sual wl, spacing anddrecton. ERERAHMAT, ARON RM AMES REE LENTURESRANMLERERHKZRORSK. T RNAMMHET, RELACEMRMEBAB, ROARE F. RRRAERGHOSUMRATTONALOL, MReE a Grown Hal Scheel f Architecture nd Urban Design, nisms “ebnoogy,Chicage, 56, Ms van der Rohe AEF, en yRrey E. ge AMS eens aAER ———— ‘eagram Bulag, New Yor ity 1956-1958, Mes va de Rohe snd Pp onnon HBRSAM, GH, 565 —URR oH LAE Pa ma PRIMARY ELEMENTS | 13 FROM LINE TO PLANE 00 0 08 Costes: 14 ARCHITECTURE: FORM, SPACE, & ORDER Dee ae Two paral inshave the ality to visually describe a plane. A branoparent spatial membrane canbe stretched between them to acknowedge the sual relationship. The closer hese ines are teach other the stronger wil the sens of plan they convey. SEP AARBAATLAL-05H, -AANHTHAMESER RRLAHR, KARACRRAMRALAMRER A, HEAR 2PRARS, COPARRFT REARS A series of parallel ines, rough thei repetitvenes, reinforces ou perception cf the lane they descr As theselines extend themselves along the plane ‘they descr, the mpl plane becomes real and the orignal ods between the lines revert being mereiteruptions ofthe planar surface. -AHMFHA, ARTREMRER ORCA TEAR ARATE Se, SABA BS CORGRAPEAREHR, BRETHERER TRENG, MAGETALAA TOURER TELA BRE. “The dagramsilstrate the tansfomnation ofa rw ofroud columns ily pporinga portion of wall then eng nto squat pir which are an integral par the wal plane and inal becoming plasters —rennats of the original columns occuring as. rele along the surtace ofthe wall EUR T HERR REE, RRETANE OHH, CREM KAFDHEN, RASEROERRSE. RELATSE—BR REPRE, KRSEHESS RAL “The columns certain strengthened part of wal cared up perpendicular fromthe furdation tothe op... Arcw of columns indeed nothing uta val open and discontinued in several places” Leon Batista Abert REEAROR ADRES, ARPARB SAM bo RETR RAEWH, HEBER, WETAMEOSE, (LBAKE #) RA. Rot. Same ORAS row columns superting anentabiazure —aclomade—is aften sed to efi th public tc orcad ofa bud, esedaly smth nen am cll ec penetet adage of set from the seta these nope cea es Individual bung forms behind, —HHttNEORNH AR. FES, TEN AHR HHORMARE TE, AHREN SEAT SAR LE ‘The Basilica, Vices aly. Andre Pallado designed his two-story lggain 154 10 wrap around an esting medieval structure This dation not oky buteesed the nsting structure but also acted asa screen tat isguse the regulary of te original core and presetted a unre but elagant face tothe Piazza del Sine. BAME, HER. 84H ABESRENERHTAEAEAR KR. ACHFEERS, APEROER DETER RAR TERA HN, BERTEROAKER T-#, SEREC EER HR OA BR Posty LINEAR ELEMENTS DEFINING PLANES ‘Aas Museum, erin, 1823-1820, Kat Fehon Schirkel BRSRAMME, 4. WEI, KEG eee ‘Stoa ef Attalus fronting the Agora Athens BRANGR, EeDe, OF PRIMARY ELEMENTS /15, LINEAR ELEMENTS DEFINING PLANES. Cloister of Moissac Abbey, France.c 1100 REPCBREM, ey, 005 ‘naddtion to the structurale columns play supporting an overhead flo rr plane they cat articult the penetrate boundaries f spatial ores which mesh easly with allacen spaces, HER TRKLSLEHRRRE atensa 16/ ARCHITECTURE: FORM, SPACE, & ORDER BERR P These two eampeslsteate how clumns can defn the edges ofan entero space defined won the mass of abuldngas elas articlate theedges ofa buldeigmassin space LEE u — ‘Temple of Athena Polias, Al q Fone ‘BB4BC, Fythios =a aan nKTen pe eee igee fer bee te by Lp rey St Phir. Toumis, Face 950-1120 Tew ofthe nave shows tow ros calunns canproies htc ease ope E+ EWGAME, wo, so, so —10 aR. Ht. CoRR REA FT LINEAR ELEMENTS DEFINING PLANES a TES aif "eS PEPER ep e das REP 5 Cary House, Mil Vale Caltforia, 1965, Joseph Esher Trelsed Courtyard, Georgia OKeefe Residence, FREE, 2608, SHOREN, HOR, LRORe Ata, ertwestof Sate Fe, New Mxce SANRNOR, FAD- MaRS Theinar members of tress and perydas can provide amoderae degre of efiitin and erclosurefor outdoor spaces wile along fitered sunlight and breezesto penetrate, EM RORHARWE, ROZRARHNONEOR, AMZ ih AN Fad “ay ST ‘1 J WERARG RSA } Vertical and hoeontal near elenents tgethercan define a volume of spice such asthe solarium lstcated othe right, Not thatthe form of the volume ‘determined sly bythe configrationof the nea lent. SURETHME ROE TUR ee) Ls x \ ee = neo MEIN RERWS / Solarium of Condominium Unit 1, Sea Ranch Clforia, 1966, MLTW ORBRBR-SOR, BERR, SHEL E AN, 196, MLTW EAER PRIMARY ELEMENTS /17 PLANE cy Alneertended ina decton ter than its Intrinsic direton becomes a pane. Conceptually. plane bas length and with, but rodatth -SRDOTATE RMR MARAE ER-OE AMLLEA, —SEHER wEL B2eaR Shopeis the primar Meng characteristic of panes determined bythe contour ofthe ln foming te edges a pla. Cecae our perceytion of shape canbe distrted yy especie festering, neste thete shape pla nly when we ew -foraly, FRPERHRERAK. ERET PRTLALHORA, ANNFHRE SUSESARHREER. RURKE H-ADRER TREN EHREBR The surplemertary properties ofa pane—its ‘urtace color pattern and tenure —allect ts ‘visual weight and stability. -SERRORH, CREED, ER eRe, PHTERMEE EBERT ® Inthe compstion of avisualcnstraction, Plane serves to define the iis or ourdares oa vole, architecture as visual art deals spectcaly wt he foatin af three- dimensional vumes of mass avd spac then ‘he plane shold be regarded asa key element ‘the vcabularyof architectural design EEC RAHM, TEORES RERADN, DEOSREE KHER EC UHARTRED CHK R EER Me, BEERRAHHELe, BRE REN SR MEE 18] ARCHTECTURE: FORM, SPACE, & ORDER RR: BR. SaMRE cc PLANE Planes architecture define tee dimensional velumes of massa pce. The properties of ach plane—size, shape, cbr, texte — aswel 25 heir spatial eatonhipto oe anther inate ete the sua airbus ofthe frm they dein and the quale ofthe space the enclose ARPRMMEORESSHMINSE. &4 BHAK, B+ aneHee PARMERE, U Inarchixectural designe manipulate tre generic ‘types panes. eanait, AnemoeeonE Overhead Plane The overhead pang can be eter he roo plane iat shelters the interior Spaces of alin from the aaa ae ae ai maticelemerts, rte cling plane tat forms the upper enclsingsurtace ofa oo mm aee RENEE ENDS ReaRn Lee ‘Wall Plone ‘The wal pane, ecause of ts veil orentation is acti noua fe of sen ad alate ‘hap and enclosure cf architectural space. an WEOtANERHTHE, BLEAGA FHAREERSRH, ALTERS AA Preriesst? ose Fone ‘The base plane can beer the ground lane that. serves the pyscal foundation and sual ase for balding forms, the for pane hat forms the ower enclsng ura aeom upo ich we wal a SEYKEAH, CRERAH ANDES LEMMAAREE: RELTUERKS 1, CORTRESMHRERH. TRAL tine weeR PRIMARY ELEMENTS / 19 PLANAR ELEMENTS Scala de Spagna (Spanish Stops), Rm, 1721-725. ‘Nessandre SpeccH decane hs prot to cenect the Paz dl pags wth, Tta de Wont competed by Francesco de Sancti, museR, 73,12 ARKRE PRIM, ERBETESAEECAS fa: HPAP LER TA Ins 120 ARCHITECTURE: FORW, SPACE, & ORDER ed ‘The run pare vray support larch constrcton. Hong wth late and ose envamertal Conditions of ast. thetopoarphicalcaracterf the oud plane ifunces the form of hebuldng that es from t The buldngcan merge withthe rand plan, rest fly on or be dewted above “he grand plane sel canbe maiplated as wal to establish a podum fora uldng for. Itcan be vated to honor a Ssacredor significant pace bred to define outdoor spaces or ‘flr against snesrabecondtions; carved oeraced to prove site plat on ich 0 ld stepped vo Slow changes n eatin to eeaslytaversed KRSLE, RELMENNRRSH, CREE HEHCARETARE, RURADHEBREDTE ERRKUA, AAC IREMSE-K, TATE BS. CTORREERARE AWARE THAR MARAE RADRAEE KHRORL-WERLERR ATER: TURE BRARRIHSHREAT ARR, TAPRAGKE %, RAMR—TERAT GE, MEPR RHR TUE ERERMED A Mortuary Tomple of Queen Hatshepsut, Datel Baha, Thebes1511~1480 BC, Senmu ‘Thre teraces approached by ramps ise tonard the tase of the ifs where the ce sanctuary cut dep into the roc. MAHOREERR, Oe RE-BGH. Bt, SERINE SRE UOR, ABM Hed ane ee R ARM RHE, oH ELERREARES ELS Machu Plchu, an ancient can city estabished 500 in ‘the Andes Mountains on a sade etween two peaks, 8000 ‘above the Urubanba River in south-central er. HERE, -ELRAG ERM RTE, HTEK HUKAELELRHRERE, LOR M ECAR SESE TH SBOE? RR, BR. SORE ase Sitting Area, Lawrence House, Sea Rarch, Clfoia, 1966, MITW/Moore-Tubull BRAT. SRMET a4 B. WHMEEM, 19668 MLTW) fois 8 4 Theor plane ithe orzontaldement tat sustams tne torce ct grat 6 wemovearound and place object for ouruze on I maybe a dab coerng ofthe round pline ora more artical elevated ane spanning te space bebuenits sports nether cise, the texture and density of te foot materlinuencs boththeacoestical quay of space and hon we fee as we veal acrs it srtace. SATERRIGRAEFEREHRREMR LHR. CHECED HHATER, WRTRERABPRMERAL. ETHEL PERS LAH, OHTMFH, RELRRZAARROM, CLES END, ARUKMEMTEM, ORATOR ERHURRNRAB RE Hast While the pragmatic, supportive nature othe or plane mits the extent to which tan be manipulated, tisnonethdess an nportart element of architectural dese shape, clr and patter deterine owt deg defines spatial boundaries or srs as auifyng element forte deren parts space AW. WNSURTANSCRSERMETHERRRHAR € ERA, WRERMLTHDEDE, MENDE BORNE. A LETRCMMMARRACLER, RORSEME TREO “EE Like the yor pln the form oor plane ca be typed tracedto break the scaled space dow ohana dines adcreat ltrs for Sting eng pertomig ane sated define asc or hei place itcanbe rendered anata grand aga which other deers ina pce are seen figures. 2HE-H. HRAORETLAMRRMRER, BHLERHR LHERAHERER, FORTIN, SEGRE TURBRAAR-*HEREP HER, EET MER $055, Ue ERTER, CRT RAE ANH Bacard Office Building, Santi de Cul, 1958, Mesa der Rote BFOAEAK, Lae FE, 10588, cn BAER as ca MT a PLANAR ELEMENTS Naha aA AA RMS AE EB, ox nee, PRINARY ELEMENTS / 21 PLANAR ELEMENTS ‘5, Maris Novell Florence, 1455-1470, The erence facade hy Alert proses pubic fact a squre ESME-BMMRE, BFK R, 1e56e—t970E AMEUSRTHRERARA DE, FORMAT Ta {xterorwal ares telat a portion of pace to eat a contr incerer einen, The constuction roves oth pracy and protection fromthe mac ements for teint spaces ofa ln, whl openings whi or betweenthelrbondaresrestatishacomectio with he exter eno ent sextet walls mod interspace, they nultamovly tape exterior ‘spice and descr the frm, massing, and image cabling in sace. tHURATEMA-Oe, UREMATEREARR, ¢ HARSRROTATARATOOM. LRReereoERD TAM, ARRHMAR CO, ERR EAR $. REAMEATERES, MOMMA ABET ABM, + BRULR+-SRRHHER, AER ERAT ADR ‘Asa desig clement, tesla ofan exter allan be articuated asthe front or rimary ficade ofa bldg, nrtan tuations, hese facades seve sna tht define courtyards, sees au such pubic atherngplaces 25 squaresind maretplsces, Ho-*RHER, TAN ETHER MAOH ERROR EER LET, EMNKMY, BOTH FAK, MEHER, RAG Abbr ne wan, 22/ ARCHITECTURE: FOAM, SPACE, & ORDER Uris Palace, 1560-1565, Gio Vasc. ‘Thi Florentine street defn by thetwe wings ofthe Ui alice links the Plaza della Signoria wih the River Ama. AFM, stoe—is0se, £3. EE STOPRAGRMRR SETAE Wh ERGEREr BRR RURM Eee, Piazza of Sun Marco, enc. ‘The continuo facades of bugs form ‘heal ofthe rn space 20978, gee RAGERMLEDAT RAD BY, aR. Bt. See ERK PLANAR ELEMENTS ‘Avempling way tase the vertica wal planes 8 supporting elenet in the bearing wal structural system, When arranged na paral series to support _aoverhead loro roo plane bearing walls define near sletsof pace with strong detonate, These paces canbe etd tone another onyby Intrupting the bearing alto cate perpendicalr zones of space ANSLWER-TEENL, REP SARAERA ST OAKE MERERAE RENE EM SHREK EER. COM TEAPRARTS, SOREN FAM, HAORA RET RATMHHRT, TORRLERA, KERR OM PRET TR Peyrioaae Residence, Cherclal North Africa, 42, LeCorbuser MEPRES, $54K, 26. MDE, RHR Inthe project ta the gt, restanding brick bearing wal tgether th L-shaped a T-shaped cenfguations of lanes, createanitedocking sees paces. SeER Ehret, wih REAM, TL HRTARES HL, ae -R EME aANeR Country House in Brick Project, 1923. Miesvander Roe RBMANLHES, ye, re, ar BAER PRINARY ELEMENTS /23 PLANAR ELEMENTS Ire wallplanesgovernthe sie and shape ofthe intra paces or rooms ehna bling Ter visual properties, tereatonsip one atoter and ‘he sie au dltrbuton penny within tel boundaries deterine oth ‘he quality ofthe spaces they dee andthe dere to wich adoting spaces relate tome anther. FAMERH ARRAS THER EAH RMS ER, CHAE MH. RAMEE RAL HADHSH, HALTM ERARERARE. OR ARE ‘24/ ARCHITECTURE: FORM, SPACE, 8 ORDER GRR Concert Hall, ject, 1942, ‘Mies an der Roe WRT. 5 R, 194s, HORE ‘As adesgn dement,a wal pane can nenge wth the Foor or cing plane, be artlalated san element elated from adjacent plats. ca be treated 353 se or receding actdropfo other elemerts inthe space, or canaseert inset asa ually ace element within roomy itu oft form, cor, texture or ater t-NOER, MET USAR EMM EEK, AAR ALON TER ORHETOR, HETURCAREA TRAE AGRE, COUMRMEMDR, AB. HGRA, RENE RASA ATE RMRERE While wals rode privacy ferintri spaces and sen as bars that iit ‘our movement, doorays and windows reestbish continuity wh ehborng ‘spaces and alow the passage of ght het, nd sound. As the increase in tz, these openings bei to ead the natural ese of rlosure als rode. Views seen through the peins become par f the patil experience BH, AES ERSMARTNSHASRE ANAT EERE NRO EGRPHERRTRD HHSARERE, HEAL. & HPPASTH, MEAD RIANA, HOFRERM EARN FHRHRE. ARACHRLAR, RACH ELH OBS Fimish Parlin, Now York Wor’ Fair 1289. Alvar Alto HAM, HERMES, OR, AME RA: BR. SAMAR Hangar. Design| 1986, Fr Li Neri Tre lala stracture expresses th way forces tre resced andchanneld ‘down tothe or suppers, TAR. IH, USE, PL a FAGHRAH AEMAARUATASE MMAR HAMAS While we walk na oorand hae physical contact wih walls the cling plane Is ussly ot ef our each nds mos lays purely sual etn spice Iemaybe the ndersid of an vera oor oro plane atl eerste fort fits structure a6 pans the space etween ts suport ort may be spend asthe upper enclosng surface oa room oral SROEMK LAS, SHERRRWRMH, BMATERNE UNAS, HRAML SLRS R PHAR OE z AHRERRKHNT, SRRER ERR RM SH H. RAMARENDR: CRARTLO ORAM TEMG wenn PLANAR ELEMENTS Brick House New Canaun, Connecticut, 949, Pip Johmson The detached vale cling ple appears to Rat shove the bed HEE, AK. MERON, 1908, PHRRMS KRaRHHeRH LE ‘As detached tnng the cefing plane can symbole the sky vault ore the mary sheltering clement that unifies the dfeentpartsof a space cat ‘steve as arpositry for fescoes and other meansof artistic expression orb ‘bested simply aa paseo recdig surface Iecanbe rased or bwered to ater the scale os space rt defn spatial zoeswithin arom. is form can bemanipated to contralthe quay fit or sound within a cpace, Po CREA E, MROGREETREMERHEPER EAESRPHTARSR—F-K, RUTUR LEHR EHERAAMSE, RERENAURERA CHAE, © ARAM, UREZMRAR, REL- CAMERON (WHARA, LUMEN PEAR MR Church at Vuoksennisa, Plan, 1956, Arr Aa. ‘Theform othe cling pane defines a progression of spaces and enhances thr acoustical quilt ARERRTRE, © TRH PARE 1908, AP RENSRAT ree BAEK PRMARY ELEMENTS | 25 PLANAR ELEMENTS Teoof pines the essential sheterng emt tht protects ‘enter of bung fe the cimatic dements. The forn and geometry of strctares established by the manerin wich sans acres pac to ear on ts suppotsand saps ‘oshed ran and mating stow, AS adesgn dent the oo ne snc because ofthe impact Itcan haven the formar thot of abulding whi settng Delman. apecistrc monment consisting of two or more large upright stones supporting horizontal stone ak, fund especialy Brita and France nd usualy regarded asa but place oan inportart person BRM, ch-shtheee, WARRIHELALKES ENE-ROAGORHR, FERAT EN BER, FRY FREE OHER Robie Hows, Chicaa1902, rank oy Wah Tielowslpng rel planes and bod oka arecharacteristls ofthe rane Schod of Architecture FREE, foe, Hr, RL AGHMER PEERS A, CORRRRN HE ‘Shodhan House, Ahmedabad, nd, 1956,Le Corser ‘Aard of eum eevates te reinforced concrete wf eab above the ain volume ofthe house. HORET. terden. OM, 196. Bek a54 entnee THMeReL EEK 26 ARCHITECTURE: FORM, SPACE, & ORDER, is SGLAPRREATEA RR ADANERER, RAK BR ACT ERAMC MATL, GEEH ANMTHRRHE, HA-NRTER, € TEtHE, SHERMAN KOS, HENRY APR EAA BS, ‘The rot plan car eid from vew bythe exterior malloofa ‘lng merge withthe walls toemphasie the lume othe buling mass. can be oprestadas acne chelting fom ‘hat encmpases aay of spaces beneath scopy. ‘oprisea nie ofhatsthat articulates seiesof spaces within a sng bung TRRRAROSEOM ARERR TN, REL ET ATRA-HORMRRAESSH, RETR RLS HRERRRAMROA, CRNMZTERE SEER: CPe-OAMNY, ENE OEE OA, RARER an ‘Avot plane can extend vena ta form owrhangsthat sid or and window openings from sun or ran or conte dwar {archer sil to rete el more coe othe aroma paren ‘am climates, canbe elevated allow colng breezes to ow scoes an through the Iter paces ofa ud. AETQAAWR, DABS. MPN RNR ALOT A, REORATOR, SAPERR EMER. EA aR SHER, SETURA, LOAMANRRR, RHEL ARWAT ASH RR: BA. SMR me PLANAR ELEMENTS Kaufmann House (Fling Water), Conall, Pernoyiai, 236-1987, Frank yd Wht, Retfored conzete aks expres the horizontal ofthe lot and rot Panes they anteveravtwad rom centr vertical core ARREE TAME). Ro BRL RP REEM, 19208 wre, RLae ~ SENGEEA-DOHRES KANERARR. WEERE AL HRARAR ARH RAE ‘The ove fermet a bulling canbe endowed witha distinctly planar quay ry careful iteducng openings whch expose tr edgesot vertalandhorzontal anes These lanes cane further diferntitad and accentuate y charges in clr textarea AXNOREH MORE, egenennit HREM, -EMOHSRBARTARRERA HOM 480 AORHNMER REA —9 TT ‘Schroder Horse, Utrecht, 1924-1925, Grit Thomas Rebel ‘Asymnetaicalcompostions of simple rectangufrmeand primary = ——| colors characterized the de Sti scholof artand architecture. —= MAWES, 20H, UNE—INSe, GT FHA WROED, FRENDDROREZ EE, RAE kPRRORERBEME —_———— wAER PRIMARY ELEMENTS /27 VOLUME # Aplaneextendeina direction other thant ntsc rection becomes avlune. Conceptually volume has : ‘three dimension: length wath, and dep -PERESURTMEAR ERR. ROSE ; H PANE DEM, £8, CBRN ‘Alves cane anahyed and derstand to const of «pnts oe vertices where sever plaescome ayether ines or edgen mere to pares met + plans or surtices wich die the nts or oundaries ca eum AAMT ORSH RRMA ATES FMR: AREA, LEE EMR AMAR, RESHIR + REE, RHO ER aN memeiietete ‘volume tis established by the shapes and intereltonchioe ofthe plans that describe the bounds of tev BRERMANHERM THEMMHE, CH HEABRGHDAHHEERRARH, BOR ReARARR ‘As the three dimensional element inthe vocabulary ot architectural desig. volume can be eter a sold — spacedlpaced bymass-—ora old —space contain cor endosed bps. HHRRRHHLPASEER, ROTURE A BAKEMR ER: ATUERS. AER azenener 28 ARCHITECTURE: FORM, SPACE, & ORDER IR, BA. COMBE VOLUME Plan and Section boarchtacture.avlume canbe sen to beether potion space contahed ‘Spacedefined by wal oor, and celingor oo panes nd defied by wal flor and cell or ro planes ora quantity of space FaSem placed by the mae of bln Is knpotant to perave this duality, ARR RARE EACALA especialy when adn orthographic plans, clevations and sections, —— EQR+, SERETURANESMA BH, UHH KK, OH BORE, ATLERE-ESMRMARERRE, FH BEOLEH, HHEENREEHTE, 2H OAMHER Elevation ‘Space displaced by the mass of cbulding am HERRERA Notre Dame Du Haut, Renchamp, Fate, 1950-1955 Le Corbusier 19808 5 BAER PRIMARY ELEMENTS (26 VOLUMETRIC ELEMENTS Ga Bung forms tat stand as objets inthe ndscape ‘ane ead 9 occupying volumes in space eeeher AEERERDS, Dore Temple at Segesta Sly, 424—A0B6. BARSHMOROR, FEE. NRTA TENOR EEA, 2H, WRITE, Hotes Burnin Ontario, Canada gAMMEE. Sa K 90) ARCHTECTURE: FORM, SPACE, & ORDER RR. RA. SME ead VOLUMETRIC ELEMENTS Bling forms tat serve as containers an be read imasoes that ting volumes of pace EMRKBL, TUMRERET OR Piazza Maggiore, Sationeta tay A series of bigs ercloseanurban square Cr AeR MK Palazzo Thine, Vicenza tal, 1540, Area Fla The nei roms suround a cortile— ‘he pnalpalcoursyard of an alan palazzo, REREM, KER, tH, IHS Agi SaenuRe Budabiot Chuitya Hall at Kar Maharastra nda, AD. 100-25, Tre sanctuaryis a volume of space cared cout ofthe mas of sl rok FRM SAT me, 10031255 Rae PAMARY ELEMENTS /31, 2 wx Form “Architectural formis the point of contac between mass and space... Architectural forms, textures, materials, modulation of light and shade, color, all combine to inject a quality or sprit that articulates space. The quality ofthe architecture willbe determined by the sil ofthe designer inusing and relating these elements, both inthe interior spaces ad in the spaces around buldings.” Edmund N. Bacon The Design of Cities 1974 “RADAR R RS SHWE A RBA, I SHH ROBNED BO, HHERC RE KR, HEBRAERH RAR NY, REE RRET QTESRRESATALE HEA, TASH OR SHATMER DE. ENG ecb) i974. FORM Form s anise termtkat has severd meanings may ree tan eternal ‘appearance that canbe rcognzd stato chair or te human body tat Sitoinit emay ls ale oa arr condtonin whch ont acts ormanists ets wlen we seat of water nthe frmofize or steam. art and design, we on use the te to dentate formal trctart a work — he mamer of aranging and cooninatng the elements ard parts compo- sition soas asta produce a coherent imaye. BRE-SESHHAD, RAFAEL, CTE ROM UHK ho Le-FREMESERTEDAK CET UHRA S HR CRARERN AHEAD, FERTRHKES TLE KREL AMS. REAMRTE ATTRAC RL EPR E OND 4M, ROMO AL -SROM ERR EMR BENTH, KE RETOR-SEMAMABR Fexk Inte contxt fis sty form suggests reerence to both ncemal structare and exer ovine and th princi tat ges unity tothe wl. Whe fora often includes sense of tre dimensional ass orvolme, hap ers more spcticallyto the essential aspect oor that gover its sppearatce—the Glneninor reve dosent tenses a det or EPRGCHRGY, PAHGLEARHHE AMOR UR ORE SE-KOND, PACTEN MRA EAE RHEE, THAN RSRAAHONKAMHS AEH, RORMASH REBAR URGE-SERRBLA RE Tecuncenstc ain st | configuration ofa pica torn Shape prc pert yh Weldentyand categorize rms. BR PRRL-HTHTHEB AD RENEE. BRERTOAS RK SORGRHEERE leaden tote sae popes HTL. PARRRT ACES: Size Thephysicl dmancone tng, wth, and depth ofa form. Wile ‘these dinersion determine the ‘rrortonsof afer, sales deterinady ts ste rate to tbe formsin acon RtER-BRE. T, HHS FER. dHERALD ARE SRRMR BERR EDAD ERULGL ARATE 3H) ARCHITECTURE: FORM, SPACE, & ORDER ‘A plenomero of gt and val pocoption hat maybe dered in {ermsof ainda pectin ot fue saturation, ardtona ae. oar ‘Steatriute that most early tet hase soveanege nett. Stator. ~~ RORESHEEIRA—#E 2, TaaRE TE DRE 2. MARAReR BNET EE . RORAOREHT REAR AUEHAM, CODRERRA tate The sual ard especialy tacile quay vento a surface by hese, shape, arangoment and proportions ofthe parts Texture alo determines the degree to which the surfaces ofa form retectr abso incident ight AAWALEARRT. BR FRRLMRRTR-REBHE LARABREAM, RGERE ES-BROA SRT RNRAH shtnnne BR. Bt. CARRE PROPERTIES OF FORM Forms also have relational properties wich ove, the patter and composition of ements: Position Thelocation ofa form mative to ‘tsemieonment or the visual eld within wich ite een OH RA BAR KEE RE MRA D RM RA HH tha sintation The ection formative tatheground lane, Be compass other ors, oo the sox viewing the form, Hf RWE-DAA TA, Hi B. htharm. AB RURAMABAB AER z Visual neta The degree of concentzation ed abit fam, The visual Inert of aform depends on its geometry as ela its ointation relative tothe ground plane. the pullot ravi and outing of ht, anmt rs-tunharanen LAN, PREAEMH, R AFLHRUR SAN. 1h PRIWER MRT fet, PARA -AWARMH, E ERHERONE: nies San | ce Ao hse properties orm are inreay affect by he condons ude which weve them + changing prepectie orange of ew present diferent shaos or aspects ofa formto aur ees * Our distance froma form determines apart sz. + Thelghtng condtions under which wevew aor affects the clay cits shape and struct. + The oul id surrounding afr neces ur ably tread adder AKLEUAUMH, TRLOTRATRODAA RETA DS AP HARKAGRNUMMRATORHTA BSED ADEE -WAZARER, RETEELENKA AT REL-HRHHAARH, BAEKER REHM EM SE-ORMAHAN, DECANHARREDROED FORM /35 SHAPE iad ‘Shape refers tothe characteristic outiine of a Plane furor the srt configuration oa volumetric form. I is the primary meansby which nero dent and catego particular ‘gures and forms, Our perception of shape depends on the degree of visual contrast that: ist ona the contour separating a ire om {ts ground or beaween aform and its field. PRLS —AERAURRRA—tHHE HER, CRAKIS. EMO RS HOR RRBRGAMERER. CRLER—B APERMMZ AOL SERK, BRR PPRARER EONAR. BARONE DRAGEMAT ERG RREZ ERED Lea Bust of Queen Nefertiti Tepattemn of eye movenent of person ening te Figur rom esearch by Alfred. “arbus ofthe instute fr Problems of Information Transmission Moscow. ARweLERR EARHSMHRMSRHES, OTE HH EMPANETRRAL SER RMS Inarchtacture, wae concemed ith the sips of * fg al and ciples at nce * door and window openings within spatial sonra openings within a spat + sthoueites andcontours of ling forms tRAE. RORARR DRE “SOCAMEE, MERE ZANGH Lon NTR REPRO KOR 96 ARCHITECTURE: FOR, SPACE, & ORDER RR. BA, Sam aR SHAPE These samples lustre how shaping te uct betwen mas and space cvpresses the mansrnwhich te contours ould ma ie rom the ground ane and meet te sky ceENRMERBIE tonite nk Cental vil hig ete ee ame ak, ome Via Garches,Vascecce, France, 1926-1927, Le Corbusier. “Wis archtectral canposioniustrates thelnterlay between the shapes ef planar sald and ol, WAR, ona A, We is, PGES LEA Suleyaniye Mosq, Constantinople (stan), 1961-1668, Sinan SHEARS, gisTE(PHEe fe), 18515 1858, Rost FORM 37 PRIMARY SHAPES BRICK Gestalt pychoogafrms tha the mind singly the visual enrommercnondetounderstand hg REHU, STEMBERRETM, cS ‘Geary compestion forms. tendo reduce the sect mutterinewrvoulfelduthe «= RAGRE. TEHRAN, AMA TERRE sinpest nd most regular shapes, The inland nore rear astape thease istopercehe ER AARAAROME, ARISEN EH an understand, NORMA RAH, CARE RRASE RS * From gometry wetnow te rgular shapestobe te crcl and the nfite serio chreqular lyons NLA F EL. EKROREMS. WAY ‘hat canbe nected whit Of these the most snicart are the primary shapes thecl.the TMBEHERAN ESRD. £LAVRH, MEE ‘angle, ud the square HEM ERAUR: BM, RO RERD CS) ( Gide A plane cure cry pit of wich sequdstant Xe from afied pot within the cue HB -NFEOABREAGS, REDLS -AWRRAN BAERS & A BB BS | eticennamng f_\ three angles SAB RE HANAAFENB, HM | Sapte ie or « 1 raghangles, TAM kabnenaneren Bs ante ‘3h ARCHITECTURE: FORM, SPACE, & ORDER RR BA. SaMRE aie CIRCLE Daw co ©) ee CN Plan ofthe Ideal Cty of Sforanda, 464, Artni Fixes RRRAREMD EM, Moe AREA I ST SS] C) Il \ | . } | Ls | _ reitnl pHRS SW RERS unsisle TAR cull FRA CO) @ 2 @ Compositions ofcrles and circular segment PERS RSL E stale ne gs selbcemtered & Asie dyramic a fuedinplace BEE — ft “The creles centrateditvovertd figure thats ermaly stable ands centering ints endrenment, Pacing acc Inthe center of afi reinforces herent central -Assuciting wth straight or angular formsor plac an lementslon ts crcufererce, ower caninduce the cic an apparent rary mation BPL-+EPHM, RARRDK, EOMR Roman Theater accring to Vitroius Fans, KHANNA MTS west, FORM / 9 TRIANGLE, =e The triangle signifies stability. Whenresting on one of ts ides, the triangles an extremely stable figure. When tipped to star on one oft vertices, however tecan ether be lance ina precarious state of equim or be unstabe and tend ofall ove onto one fits sides. San eneree EAVE-TRERLAD BRB, SEABORE PREMERA ET AR 5. MELT EARS Modern Art Museum, Caracas, Venues, 1955, Oscar Wemeyer BRZRSME, bie, £AaH, 1955H, 0 ah ss Vigo Sundt House, Maison, Wisconsin 1942, Fan Lloyd Wright Great Pyramid of Cheops at Giza Exypt,c. 25008 VARESE, 2a. OREN, ODE, BLE BPOFAMRARE, 4, ne 40// ARCHITECTURE: FORM, SPACE, & ORDER. BR. HR. SAME SQUARE Bathhouse, Jewish Community Center. Trenton, New Jersey, 1954-1959, Lous Kahn BR. RARE, PEM HEEH s.Le Het, 19545-1989 Compositions resulting from the rotation and modification of the square EAMES AHO The square represents the pure and therational. tis a static and neutral igre having no prefered crecton. Al other recanges canbe corsidered aration ofthe square— deviations from the norm by theadtion of ego width. ite the tran, the square is ‘stable when esting ono ofits sides, nd dyramic hen standing on oe ts comers EAURABARHNK. CL-OBSH, HHHND, EEETA. KHEVNTUERLE DBR, RASTA LHRAEL ECAR SESETH-RMLHEREH, SE- AE ‘Agora of Ephesus, Asia Minor WRRME, Aes FORM /41 PRIMARY SOLIDS *.. cubes, cones, spheres, nds, o pyramid are the grat primary os that ight reveals to advantage: the nage of hese is stint and ‘aul win us nd without ambit. tis for treason that these rebut forme, the most beatiful for” LeCrtuser cote, NMR RE, ORR, BE RE EEDA, TOMARERTREBRHERE, BERRET ANENMH. FH. ATEMH HEADED, BOHR ERH, PRERAMER. ” (B-SHER) 42) ABCHTECTURE: FORM, SPACE, & ORDER BARE ‘The primary shapes cn beeterdd or rotated to eee amet fors sold which ae distin, eur and easy recogni Ces gene spares adcyindrs anes ynerat cones and pris: squares erate ben ts Cantante teed dos ot eto nes sbotance ‘trator toa tree dimensional geometic body or gure ARPUTARA FARMS SRADALTH, BER BLANK, ANHALEMEH, ETURERERE: BTUKAMOREM, EFBURE TSH. EH AAT, TRAP EMM RMANRS, TER ERLE anne ‘slid geeratedy the rooltion ofa senicl bout its ameter whose sartaces atl pints eqdstant from the cent. ‘Asphre a centrale an hgh concertrated frm Uke the ‘ce rom which bs generate tf self enterng and normally Stable ints envnment can binned toward retary moten Wen placed ona oping pane Frm any venpon it real ta cular shape. WHEE MIORLGRAT RR, MER R-2 AE CHERONS, SRR-THOMPRREEHABL, ACANEOR—N-H. EERRA TLE TCA ED AAPOWGL, ABEMEHRS, ATLT—PHHE AHR, CHUM TT RMNSH, KEMMARR, T OANED ‘Asal generatadby the rolton ofa rectangle bout one of ts ‘ide. Kinder is centrize aout thes pacing thrugh the ceoters cits twe cel faces, Nong ths ans, can easly ‘ecended The cinders stable ft rests on oe ots crear ‘aces: recomesunstabe whens cena an sincnd from the vertical EGALH-)HBERE-SHEAHAM, HERE WARAPEARERSHUA TOM, MRMTURE SAGCRWEE, DEURES AEH. BENE SRSHHA, MEHLERRSHHH, CREF —#E eats BM, st. SRE ARR ath wet ‘said aenecated bythe revelstion oa rat ngleabout one cots desk their the coisa hl sabe for when resting on ts real ase and unstable when ts vertical sis tipped or overture canals reston is ape precaroes state baace HOBL-SEREAPEOR-EARHE TRH D RE-H, SEUMMSH SRR KR, MOE TES ATHEA, HEHEAAMNRMOHER, CRE HEMERDA, CHRUAMMTRLER, LAB HERRBENAS -Apiyhedrenhavinga polygonal base and tanga aces meting atsacommen pit evertex Te pyamidhas propris sinlarto ‘these ofthe cone. Because aloft surtaces ae fit planes, howeve the pyramican etna state manner onary of faces, Wil the cneis a soft form, the pram telat hard ad angle ROSSER, MNF OR ERE ABER, e= AORSIRT-EMHA, WHA, RORKH TRE WE, WERTENAMR ERLE H, ROLE REREORKS. WER -AEEMBR, AHMET THEPRTA, LEHRER ‘Aprsmatisld bounded by i equal quae sides, the angle bene ary two ace aces bey aright angle Because ofthe equality oft dimensions, the cubes. state format lacks apparent movement o direton. tsa stale form ecept en stands none oft edges or corer, Even hough angular profes fected by ou pinto ve, the cabe renin a ighly recogni for, LOHE-DRRARTH, HATRTHERE, C8 AAMHEMARDADS, STEALER OE THE-HDENBL, MERERZA RETA FRR THZERAMAER, LE-RMEADA. B HL FAPRRAAMEST TANNA TENDS. EDGES RMANER, PRIMARY SOLIDS FOAM /43 PRIMARY SOLIDS SAI Maupertug Project fran Agricultural Lodge, 75, Cane Neds edo SREEM. REUSE, CNH Chapel Massachusetts institut of TeclogyCamrie Macachuett 1965, Eero Saarinen and Associates DOR, RERIFR, 1, SEMEN, SEE OETHER - Froject fra Conical Cenotaph 1704, tenes Bose URBESEAR, HE. LLG {4 ARCHITECTURE: FORM, SPACE, & ORDER WR, BR. SK BASIE PRIMARY SOLIDS Pyramids of Cheops, Chephren, and Mykerios at Gua, Eayt . 2500 BC. SRORPRN, FRAN. AARMRAMEMEPS, ee. onze Hanselmann House, fort Way India 1967 Micha Graves SHARES, SHEE OH THN, IWR, METER fet FORM /45 REGULAR & IRREGULAR FORMS JUAN FAR RUANTEST Regular forms refer to those whos parts are rita coe ance inaconscit only anne. Tey re acer sabe nnatareand seta about oe or morass The sphere ‘oflinder one, cub. and pram ae prime _camplsof regula forms ANAPLE HDS RRRBSL ARE HRAWERRRSRMDR, HERE HERRLERTH, ETERS EWA HWS WE, RM, SFR ERR RHE ERD Forms can retain her regulary een when Subd dar eon ‘woh simi forms we canconstrict amertal tTodel ofthe rg woleeven when fragment ismiesingor another parts added. FREEMREERAMAERHER, PADERHERME, BRERIRE -WRAERE- BOM WARNER. HEROHTANDRRER, ROME ARDERA-SHAR-AREXBS ans leer tas ose tare lan nature and réatedtoone another seat andnors don fanaa oe tac imegular cements have ben eubtacted or result fea rear composting ons. FRMADREABASNAR EERE FRAUERERS RE OE-RADR FARRAR RETR EN. LRRDR CHESS. CHTRENAUR ORES CAEASHE: RELRUDROFEH ame ‘Sc we deal wih both sed masees and patil voids in arcitectare, regular forms ca be con- {aie thin rear forms. na sinar manner, Iegular lms canbe enced byreqular rms. PRRCERRPRERAEE. FER AEE, UMM DRTRCEETER ARLE: A, FAM BRAT ARM RBAESRA 4 ARCHITECTURE: FORM, SPACE, A ORDER Het, Sia TE SUM ATARAR ARN AOE REGULAR & IRREGULAR FORMS Aroguar Forms Piiharmnic Hl Bert 1956-1963, ans ctarun FRMER: ERGER, Gh, 10%5 165, Hog L___| A Regular Composition of Regular Forms: Coonley Playhouse, Riverside linc, 912, Frank aya Wright BRUEAM ANAND, AWMER, cone ‘An Iregular Composition of Regular Forms: Katoura Palace, Kot, Japan, Ita century BRABREROTRUAE, | #EE. fe, 14, 18 Irregular Forms within a Regular Fel: Courtyard House Project, 1954, Mies van de Rohe ANAT RNB, AREZAR, wus, en. nae Regular Forms within an Irregular Composition: Mosque of Sultan Hasan aro, Eypt, 1956-1963, FaNMPM RAB, BRE RMARS. Fe. eR, 138 wx FORM 47 i TRANSFORMATION OF FORM Feat, ‘Allother form canbe understood tobe transfomationsof the primary sold, varations which FAGRAVARTARAN ALAR KATH. LOR are generated by the maripltion of one or more dimensions orby the adaton or subtraction of GR BRT SARK TRERSRRHLE, HE elements BTERAMAT AEE ‘fore can be transormed by altering one or moro ts (tosatisly the sprit" fs Z, Lihi LA eH) Vila at Garches i 7 mae ig eect 1s + (were combina” . | Houseat Stuttgart | ramace | “eateracie frm + very geneous + cathe eteroranarchtctralwlisconfmed + ontheintreal fnctional eedsare satisfied ight pretation cont ccsain)” eens aah ARAUREALAR (A088 Howse Poissy att. an) anate ‘After a sketch For Howse Fors, by Le Corbusier for thecover of Volume Two ofthe Cee Compl published in 1985, RR WHER CORR CEHA) HHEROLM, 195KHR BR FORM 85 ADDITIVE FORM seamBO Test Whe a subtractie orm sults fom the mova oa porsm of Rsorgnalolume, an ade forms ducedty relating or physical attaching one or ore subdinate forms tts volume, MANPARLER ERE —wORHH. CHEE ARWPALTEMENERLERRH SHAS AMBR Ta oss roo ree meh ARR RU LER: Spatial Tension This type relationship reson the clase proty of ‘the forms or ther sharing a cmon via rat, such a shape color, materi 2A ESR SREBRRAD MEMES, KARTE HARHA, kHHR, RORHNME Edge-o-edge Contact ln this type ofeltiosip, the foms share a cornon dg andcan po abou ated. ase EREtEE BRAVETHM, AEB MD Atte SE-RHELTERE: Face-to-face Contoct “Wis typeotreatnshlp quires that hemo fore corespnting plana surfaces wich repr teach he. wsmeae SAXEEAADBRRG EMEA, EOFHE 1a Interlocking Volumes inthis type retionsi the forms intepenetrt ach ters space. The forms need notshare ary visual als, suse ERELET, PALER EAREHERE CDEERERCRAHEHA '58/ ARCHTECTURE: FORM, SPACE, & ORDER RA Ut. SOME seat ‘Ada fos resting from the accretion of discrete elemets cn characterized by the aby to row ad meng with other forms, Fr us to peeve adie groupings as unifed compositions of form —as figures in ‘our sual field —the combining elements must be related to one another ina coherent manne, MbOUAROMTERHRK, THELMERAKE DAS RAPREFHEDATH, PANNE, LEAH OHH BRAR-HE, HARNARPSLEDR, SHEET RARER EARLS, These diagrams categorize adie forms according tote nature ofthe relationships thatexst among the component forms aswel as their eral configurations This outliof formal orgariations shoud be compared wth parallel discussion of spatial organizations in Chapter 4 RENAE DADARH TOL, PAMRHEAAT EMR PRZARRMMAUATMR ORES, BAARMEN HE KERMA R SRM SHELTER TER, Be Conralized Form ‘Arnumber of secondary forms clustered about a deiat, etal paren-fom. owt STARR PRORE-P EES BTEC ERDR {inear Form Aseres forms arranged sequntalyn a ow. etUs EN PR RMB RH Radial Form ‘Acomposition of ear foms extending outward froma central form na radial manner. anes CPORRARR, SERRBR ANE Glustered Form Acolection of forms grouped together by proxiityo the sharing ofa common visual rt. et HAR AAR AMER EMDR abe-R. Grid Form ‘Asetof modular forms related and regulated byathree- dimensional gi od -HHOMR DRM ARAPRAHH, ane ADDITIVE FORM FORM /57 CENTRALIZED FORM seep Reat 5 Maria Della Salute, Vice, 1691-1682 Baldassare Lorghera MEZHBEME, Gey, WEE, Ret Beth Sholom Synagogue Eins Frk, Rms, 1969, Frankly Wight Via Capra(The Revanda) Vea, tay, 1552-1507, Ande aad GB RRAMAME, Cotvoy, TFEL EN, WE, FL FARAR TNE) AER, OAH, SEITE, AR DER 58/ ARCHITECTURE: FORM, SPACE. & ORDER RR Bt. SHORE Seek CENTRALIZED FORM ‘Tempietto,$.Pietroin Montorio, Rome, 1502. Donsto Branante SHES, REMANERAME, 74, ID, DEKEH Ctra rms ee the sua deninanco geet er, centrally cated form, such 5 spr, cone, o cylinder Because of er Inherent cena tse forms share the sof eter properties the pincand cide, Tay are dela restandingstructares ted within thee cantor, demnatng pit nspace, er eccupin the center adie field “They emby sacred or hori places, or commenrate snifcart persens ont. RFOREE-DLEDAME makes ri hi Hi) nat ‘Yune-Done Easter precinct of Horyu-i Temple, Nira Japan, AD.607 9M. RMAKR, 28. 0k. Oe et FORM 59 LINEAR FORM 60) ARCHITECTURE: FORM, SPACE, & ORDER sextet ‘Alina form cane fom a proportional change form's dimensions or thearangenent ofa senioof ‘Aiscree forms dong aie nthelater ase, the series offermemay beter petitveor dinar nature and organized bya separate and detinctelement such asawal orpath: ARBLTUAOK-BREME MHA ERS FARER-FHRREBK. KERNS T R-ENRBAREEENE, RELSEERE At-heih. MERRRER, b-O4R ERRERE + Alla Forman be seg or cunnaro repro tepayraphy vegetation Wes or ether features of asite, ARDATURRRWAT AN, HECK An Mn. PERE AM + iar formcan rt on or fie anedge ofan ‘exter space o dene a plan of entrynt the paces behind ARPRAM DREHER whee, £eRK—EAD eR RARHES SASH + leat ormcan be manip to enclose apeton co pce ARRTUNAT ER + lima for can boreal a tower lene to stablshor denote apo in space. RAPATULARK. RA-SBRER, ® 2RERER ERAT + Alea for an sen as anor een to ‘which variety of secondaryforms are attached. aAmRT MIA Hast aren, Fen MRL RR. HR. SORE BotHest LINEAR FORM ‘Runcorn New Town Housing, Enlan,1967, James String SMBS, Eye. TE, Lae | ooccc5o.. Linear Growth through the Repetition of Fos nn near Form Expressing Procession or Movement AADARAH ER ‘ompany, Plymouth, Michigan, 1904, Abert Kahn EMMHROD, ent. EERA, IE, AR Het FORM 61 LINEAR FORM <7 ‘Agora of Assos, Ass Minor, 2nd Century BC ARROrS, ota. & Linear Forms Fronting on or Defining Exterior Space AtetRORERENS TA Queen's Coege, Camridg, England, 1709-1798, Neblas Hawksmoor xERR ee 18th centarybuldngs rome tree ned canal nKanpen, Halland 170051738, NEE SLRUMERHEM, EXAKRT OST (62 / ARCHITECTURE: FORM, SPACE, 8 ORDER RA. Het, BaRE Beta LINEAR FORM i Henry Babson Howse, Resi las 907 LoiSulrar HESQEE, Eom. CHEN N, I07, LoKE The Mile-high Illinois, Skyscraper Project, Chicago, Ihinols, 1956, Frank Lloyd Wright PHERERR. FAN5e, SHE, PHEEH, OR, RL EH st a te - Hest FORM 63 RADIAL FORM HER, ‘ada oo const oflinear forms that etendoutwar froma tentralyloatedcoreelenent na radiating mane teconbnes the ! ‘spectsot centrality andineaty into single conpsitin | ANDERS PARNER. dedRoRKETeOHE i BKCER. KRHRATRAKOR, ROBABETR | erect ewerett yy Teco etherthe symbolic oncom centerct he ornization ta cere ppston an be artlated wth avisualy ‘ominan fom, orican merge wih and became subservient ta the radiating ams, eHORHMS, TE tRe Re = Raia forms can grow nts network oF | certers nied by near arm, MEMATCR ERS, t Age LSROR ARR M SE -t 6) ARCHITECTURE: FORM, SPACE, & ORDER, Aste, ATOR-toenhas Po EPOnRE, TURES TiSSSHUHDA, REED NEehs CRD ANNES Tera rms, havig properties sini tothos ear frm al fer extroverted natu, Tey an reach ‘ot and rate to oatachthemshesto ‘yeti katara te Tey can nose thie coated surfaces deste Conditions of un, ind ew or pce. ARERR, RETARD RAL an, MAHA BRERA ©. 2ERNTURKBS. FOR SSRWSLERKERE, HiME HER, EERKATT RACERS NRA, #aRH ORE ER RH: FER. SHORE PTE. RADIAL FORM ‘Secretariat Building, UNESCO Headquarters, 4 Pace de Fonteno. Pas, 1958-1968, Marcel Breuer WHR. RAERAREMED, we ey Fi, 28, 19534 —198E, Mate ‘ The ogantzation of adil form can best be see and nderstzod froma aerial enpoit Wher ewed rom rand lev, is cetral cor elem may ot leary sed the dating patents iter ars ay be obscure or dstortd through perspective foshortening Skyscraper by the Sea Project Algo, 258, Le Corser BARAK, HAE R SMHS, IHR, BER wet FORM / 65 CLUSTERED FORM (/ ARCHTECTURE: FORM, SPACE, & ORDER sEETESt While cntaedorginiation kas strong quometi ass for tiv orerig fits fos. austere organization guups ‘toms according tofunctionlrequbementsof sie, shape, or rxiy While aks he geomet regulary and into verted nature centriize rms acusteredorganiation fexve enough to incorporate rms ofarous shapes, izes, and entatlons into strate. RHAMPEMNED AHH -AEHAHAASS, WADRASUMREM, BRLAEM SHEERS AREDH, STLABRHRERHLARR RAD A. UARLOH LEM, THRSRER, ART CREAT AMBRE ESHA Consteng ter eit. cstred npnizations of formsay be rgarzed nthe flowing ways: + They can beattached as appendages toa larger parent fernorspae + They canberelated iy proxinityloe to artulate nd eres tha vols as indvual ett. + They caninterlock eiwlimesandmege toa sla fora havingavaneyo aces. FRHAEH, DRHOEROSTURMO TT RA eB “ENTAPAMRGERT—PRAMERARRE PARUHR-RAEMR OAK. FE CNHSRARRAR SERA SEOHAERETUMAER, CHR-DHER, F WER ER ADE ‘Acksteredoqanization can aso const of fos that are genera euvalent nsz, shape, andfncir. These ors are sly ordered into a coherent eblerrcicaergan- aon nat only by thekclose renin to one anther ut ao bythe similar of hr sua popes, MHLSSLMHERY, BRODSARARABH MORK. LOBKEATEANR-FEMER. & FRHME, ARES TRAST AMAR, BER TeRHEeN BR. HR, SRK seas CLUSTERED FORM ‘A Cluster of Forms Attached to 0 Parent Form: ‘Yacation House, Sea Ranch,Californa, 1968, MLTW/Moore& Turnbull RATS LOM: HAAS. WEAR, WHS CEN, HE, MWe Ke Hee A Caster of Interlocking Forms: GN.Black House (Kragsyde), Marchesterby the Sea, Massachusetts, 1882-1003, Patody8 Steams HGRGE OEE: GNERRES (KHBAM). SeeHes, SUE WEIS, RHA ER ‘A Guster of Ariclated Forms: Howse Study, 1956, JamesString James Govan aapnoam: SHR, 10568, LUSTRE Fest FORM /67 CLUSTERED FORM Nerous amples of clsteredhasing forms canbe found inthe vernacular antitectreo arous ctu Eien though ach care produced unique style in response todiferng technical. cimatic ad secocltura factors these caster ousng organtations usualy maintained the individuality each unit and ameoderate degre of versity thin the contest ofa oder hoe AERBAREDAHIA TUES ARH PK LOEMA-HKHHAD, ih B58, akmERE wee LURE LA, RES FARAL. ARRBAZE QoATRHERROTREDA. 428 raseamhs He (8/ ARCHTECTURE: FORM, SPACE, & ORDER METS ‘Trl Vilage Albrobltaly Tradition dry stone sheers incstence she the 7th century. WANs, ebFLR, et hah. BENT ORR HS SAU RCH RAE Taos Pueblo New Mai, th centry HORA, HESHA, BER WA. HR. Sa snes CLUSTERED FORM Habitat lorael,Jersslem'969, BONES, BRHY, WS, MELE emacar examples of ustre forms ca he realy tensformed into mlar, geometrcly ordered competion hich ne related Habltat Mortreal, 967, Moshe Sutte RHARES, ee, MERE Hest FORM /63 GRID FORM materest ‘Agrid isa system of to or moe intersecting sets of regulary spaced paral ines. generates a geometric patter of regulary spaced pints atthe intereetion of ‘the ridlines and reqularly shaped fllds defined by the aid ines themselves, “HAGE ARARS MERE EA RA BH. EAERR-DANOR. AS LED HHEMNHAPPAMNHERHR, RET ERUSAGTRRERB ATK, BRNHS RUAGAEPHRAREE The most common grid is based onthe geometry ofthe square. Because ofthe equality ofits dimensions andits biateral ymmetry a square ris essentially noniera- chicl and nondiectional. can be used to rea the scale af asurfacedowninco measurable nits and gi itan even ‘erture canbe used to wrap several surfaces of form and unify hem ith es repetitive and pervasive geometry. APOWRE, LULGTHAREH. EAE ASEM BE, HOR OHR, HUR-tEF PHABERLELER, HAH. BETH MARS PREARR, RLORTLERE SE, FARRERANSHES. RETLA RMR-ABRA NERD, FEN RA ALADRR KART RE The square ari when projected ita the tid dimersion, generates a spatial network oftelerence points and nes, Within tis modular famewort. any numberof fomsand spaces can be visual organized, SEAUORR ABER AAPA, REET A Conceptual Diagram, Gunma Prefectural Museum ofFine Arts, Jaan. 1974.Aratalscaakh SRA BRUSH AS. CRMERLHSOR HORM, BOMARAMMR, ox, IME, nae RE, PURER SERSMOTRARE LAR kA Nakagin Capsule Building, Tokyo, 1972 Ksho Kurokawa - — RAM, HE, RNR ‘70 ARCHITECTURE: FORM, SPACE, & ORDER BR. UA. SARE Frame with Adjacent Spaces PMRS ROR Hattenbach Residence, Santa Moica, California, 1971-1978, Raymond Kappe aesh AMEDHE, FRE4, RHRLIN, WNE—ITE, Rae HR ___GRID FORM FORM 71 FORMAL COLLISIONS OF GEOMETRY de Circle and Square Rotated Grid ash eHORR 2 ay ‘72/ ARCHITECTURE: FORM, SPACE. & ORDER Juma Wher two es fring in quot or oretation cole andircerpenerat each others boundries, cack wil efor visu supremacy and dominate. In ‘thee stuations the folowing formscan evoke SLRBATRRTSTRMADDR. & AMMREGAMERETERHR. Bt DRORTERT LMR RIFRE. & RARRT, FARM TNDR, = Thetwo fers ca subvert ther ndidual erties and mee ta cae anv compte tern SABATEREEORORMM. oF B-RPE- SEHR OE + Gre ofthe to fom can eset other totally went one. Ke) PRIMA EN NER EER BREA + The bo forms cn retain hii detties and sare he inching portion thelrelumes, AAPAMONASOABA, #EREE sme + Thetwo forms cam separate arb inked by 2 ‘ied element that recall the geometry of one fh onal for. ACPATHRLGA, MERE TERM 4, MERGER ERP T BRN EH BR HR. SHOR JLT RZ SCA FORMAL COLLISIONS OF GEOMETRY | —— Het Forms cifering in geometry or orientation may be Incorporated nto a singe organization for any ofthe {oloning reasons: LAPIN RAAEAAOR, TUBTE WRB2- BER-SRoHM ER + Toaccommadate or acentute the ering requirements ofnteror space and entero form + Toexgressthe functional or symbols inportance ca form or space within its content + Togeneratea composite for that incorporates ‘the contrasting geometries into ts centralized ongariation ATHERRM AMORA NEB RN TR fe ATRE-APRR- SERRE ER ER HERDER TARERL SATAA-AR GDH, REMAIN HPAPSRAR ABER ROLES + Toinflecta space tomar aspeticeatare of building site + Tocare a nelhdefned vole of space froma tring form + Tones and articlate the various constmuc- tional or mechanical systems that eit within abuldng form ATEERREABARTRTATER ATHE-RADALME-ARAMS eenee ATARAERR ADEA BHAA H ALM EA + Torinforce local condition of symmetry abiding form + Torespond to contrasting geometries ofthe ‘cporaphy,egetatier boars, or existing structures ofa site + Toacknowedge an akeady esting path of ‘movement trough auld se ATE FRA D AERA RRA EO wR ATPGRD. HR. ARR EES SHR REAL ALTE ATAL-ELBHEM, CRRA nee he FORM 73 CIRCLE & SQUARE mse Plan for ar deal Cty, 61, Vincenzo Scanorzi BSRNTH, Wise, Ve tes ‘Acca fem canbe freectandng its contest to mprssits deal ‘stage andstilincnprates more functional rectliear geometry within its boundaries, —AOh SHA He, AAEM DR, PERYRH, RAREST ‘Thecentralty ofa creuar form nao ittcact.as ahub and unify of contrasting geometry orokentation about toc EPPRAASHATEMRS— KO. RLURRR FAHIADRE THRU AH Chancellery Building French Embassy. Basia, 1964-1965, Le Corser AMEX. EMABI, cae, i6te— 19658, Mm ‘The laland Via (Teatro Marto) Hadrian's Vil, ‘ray AD. T= SEE TOMER). CHAR, HAs, A, MBE 1288 ‘74 ARCHITECTURE: FORM, SPACE, & ORDER IRR, Fest, Sia wash CIRCLE & SQUARE 1975, James Siting & Michad Witord ALRA-MMHEMT ROEM, LEK EL, © 5, 55, LRM RO Acircalar or cfindrica space an serve to organize the sacs win aretangreclosie awan whee Murray House, Cambridge, Massachusetts, 1960, MIN/Moor Turnbull EE PATA ER ee TU Ee eee Ret FORM (75 ROTATED GRID ‘Plan ofthe Ideal ity of Sforzind, 1464, Antonio Faroe ARRGLARMAGMEER, ole, A SiH Berets Pear Mosque nth the Red Fort imperial palace st Ara Ini, 1656-1707 Aurangzb ‘The ltevie space ofthis mazqu sented exactly with the cardinal ents whet eto conforms tothe exiting yet of the for. BEART, nEe, HEAR nen8 Har REELS em, t698e—1707 Reneyaiee ‘St Marts Tower, rjc, New York ty 1922 Frank lod Wright ERNER, Fe, ahr, OE. RL eH 76! ARCHITECTURE: FORM, SPACE, & ORDER RR. Et. SOME Bee at ROTATED GRID A Diagram of Architecture RAER. “Taliesin West, near Scotts, Arima, 1958-1969 Frank Loyd Wright = BEERM, SHER ERS. CHAMN, WREVHE, ELE 7 ‘Adiayram byBerharl Hoes the grometryreglating the aout of alsin West \ AB UNMKRH, WUSKERAO RR LAKE Diagram as Architecture: FORE REN: House il for Robert Miller. akevile, Connecticut, ‘97, Design Development Drawings, Fete Eisenman ARAORMBSSET, FLAT, KTKEM, TE, RTARRE PRRE ret, FORM /7 ARTICULATION OF FORM FEROS Palacio Gael, Bacon, 1885-1869, Artnio Gas PRAM, ORFS, ISS —1880R, AE ‘78 / ARCHITECTURE: FORUL, SPACE, 8 ORDER RR. Hest. SiR FEXAES ARTICULATION OF FORM % ZA Ye™, » ‘Artcaton refers tothe mamerin wich he surfaces of fom comeogether to dene ts shape and volume. An arteulatedform cle reveals the rece rato its arts an hl relationships to ac thr and tthe wes ‘races appear as dscree panes wth tinct shapes and tei oer ‘canfiguratons lel and easly pected. Ina sinfar manner anatialted ‘group fos accentuates the ont shetweer the costtue: parts onder foul express their indiadaly, HELGE TORN R OR SRAM AL EDRRERNE f hEORHMDR, ROMMACRES DERERHMA AM, MRZAMRRURE SREY ERAEE. RERABS A RAEGRARER, ETERMEMKE, CREGHER ADEARES THUR. i RERKH ORR. TER LIAAEEOREE, ARTEM RBS EMEOR ‘foo can be ariclited by. + iferentiting adjning panes witha charge n material calor, texte, ary mt erpcorss dic iar mats dependent te ahting planes + reneiag corer to phslaly sepsrateneghtoriy planes + hing the for to create sharp contrast inten value ang edges and comes PENMAN ARR IR: He WRN ERE LEE “RAMANA MHSARER, OTH WERRE, CENH TOL ET EDA, RBKAM EAR HEA MAR SN OTE wet Inoppostion tothe above the comers oa form canbe runded avd smocthed ‘veto emphasize the contin ofits sirlaces Ora material cor, texte, ‘pattern can be card acroas comer ota the aon surtaces ta de tmphasce te ndviualty ofthe surtceplanesand emphasize stead the volume ea form PLERAM, -PORARATO ROA RCAAR RR ES AE, RERHE, £8, ARERR AAA ESHER, KBCRR RARE, MADR AEE FORM / 79 EDGES & CORNERS — «er er. sang A Since te articulation oa form depends toa great degree on how ts surtcrs meeteack ether at comers how these edge conti re esos ctl othe deitionand clay of afr, HTORAR SEMA MERAT RAD ERAREDURSEA, RUD REREE ARWERER ERA SBRRER Wile comer cn be articulated by sinly contrasting the surface qualities of the djing planes, obscared by ering thelr joing whan ‘pticalpstte our pereption itsestence ao affected by thelas of perspective andthe quay of gh at tumtates the form. Eateea—oe serene HWADAHE MRR TS: TERMBE A-D8, HEMEBRARSHORE-E RHRLENE, AOATHAHTH ERE SHAMARE RNA SEH EAHA AD 4 Foracerner toe formaly acti, there mst be more than a sgt devon inthe andlebetween the adjoining lanes Since we constantly search for regulary and contin wthinour lot ven, we tend te regular r Snooth oe sight requis in the forms we se. For example wal plane thats ent enly ight wl appeartobe singlet pane, perp with surfceinperecton Acorer would ret perce. ~TRRDAREDRERRER, BHTHZ RHAMMATRA), SHROMBERLH ATTERCRHRARA, BAR OMA ES FHABAARRELAAR RSME RAAT AMER. be, TAREE OM. OL et ERHS-H, KHRERETERAR BAGRCES Ae wht polo these formal devin become an aoste angle? angle? NS -RFEADALNRER ATH Ato AER segmented ne?..astragh ine? AR ERT we SRRY acrelar segment... change vale’ contour? HEB MARY om EAH RES ‘80/ ARCHTECTURE: FORM, SPACE, 8 ORDER BR: Ht. SMR Wh Comers define the meeting of two planes. the Do planes siply touch and ‘the comer remains unadorned, the presence cf the corer wil depend onthe visual treatment ofthe adjoining surfaces This comer condition emphasizes ‘the volume of for. RARLTAAESOR, DRANTERER, HARARE OH, RLGAMER EMA DARAT HRA REM ALR 2, RARARSRRBEDAHAE, ‘Acorer contin canbe visual reinforced by introducing a separate and dlstinct element that is independent of the surfaces ions This element aticlates the comer as aliear condition defines the edges ofthe adjoining panes, and becomes a postive feature ofthe for. WA-NHA, REMRALERTRSEMTRER, THR AAREURLAH ED, EPERERARAHARE AAR, SHUSERBALE, FERTDRA RARE, fan openings introduced to onesie ofthe corer, one ofthe panes wl appear to bypass the other The opening diminishes the comer condton, weakens the defnton ofthe volume within the form and emphasizes the planar qualities of the neighboring suraces. PREAB-HTA-2B3, -FERERERE SAO ih RAS IER THABES, MET BRAT ALAR K, PLRCT MRE RMAR TERE, Heth planes extended to define the come, avoume of space i created to replace the come. Ths comer condition deteriorates the volume ofthe form, allows the interior space to leak outward, and larly reveals the surfaces as panesin space. PRASERRARHMERR-DHA, BERRA E- Dae RARRREASRAR, LORABSERTORHEE, BA HEAMRUR, FLAADA TAMARA ERT TE. Rounding of the corer emphasis the continuty of the bounding surfaces cf fom, the compactness of ts volume, nd sofas ofits contour. The scale ofthe radus of curvature important to small, becomes sully Insignificant large affects the interior space encloees andthe exterior formitdescbes, SHARAD, DHTURREHSRE AEB ERH BRR HHL GH. MAXERRELTEEH, BRAD, PRERL HE: DEAK, MBAS RMRM ARERR E RR HH BBR, Re CORNERS FORM 81 CORNERS ah Everson Museum, rc, Now ork, 1968 LM. ‘Theunadored cores of th farms phase the ume of her ae RABE, GHEL, EAM, ME, MEE PRPRAD DEEN, RATEREERES Corner Detail, amo Shrine, thmane Pretecture apan,A.D. 717 (astrehut in 44), ‘The timber joinery artcalaes the nda ofthe members meeting at the core. WAMB, WEA, 0HR, Fk, TIE RE-K MALES) WHAM TEAM AM TERR HEE RNA f/ ARCHITECTURE: FORM, SPACE, & ORDER. IRR. Het, SHR am CORNERS Corner Detal. Commonweatth Promenade Apartments ico, = ao 1958-1956, Mies ander Roe ‘The cermer meer is tecessed tobe independent the adjoin wal ans. HARB, WROBER, ee, SFIS, TR ARE STRITORRMTE, HALERA TE ‘Andrea Palad. ‘Thecorercoumn emphasizes the ede of thebuéngtorm. RAGE, CANE, AUR, TAH, MOE, AREER AHETEATRR EAHA, Hest FORM 83 CORNERS: sm Einstein Tower. otsdam Germaty, 1919 Eric Medel AMBRE, aoe, 998, EERE Rounded corners express contruity of surface, compactness of volume, and softness of form, MARNHEEHEAM, REOESN ERA E OM Laboratory Tower. Johnson Wax Building Racine, Wisconsin 1950, FrankLlyd Wight ROEM, HRAMMARAR, Te. NRE, WHE, RLM (4) ARCHITECTURE: FORM, SPACE, & ORDER RM Bt. SANE ital et Openings comers emphasize the defntin of planes over volme SHAKER, MERA AR RRM EERE ‘Architectural Design Study 1925, Van Doesburgand Var Estren BRRTAR UIE, KeoH HERA HAY CORNERS Fon / 85 SURFACES ARTICULATION 5 / ARCHITECTURE: FORM, SPACE, & ORDER AMAIA (ur prceytion ofthe shape, sie, scale, proportion, and visual veightofa planes influenced bys srtace properties as allasits visual context iH ate ane PSERBR. RY RE. ERE ne, AHIREKHE REAR + distinct contrast betnen the surtace cla of» plane and that ofthe suroundng field cn clays ‘shape while modlyjing its tonal ale canter Increaseor decrease its visual wight. -SFEHHR, aaREE HMM RRR EER + Aorta vew ral the tra stpe of alae oblique ews dtot ERANKMT-SERREDA. HA aMaeSeskonre Elements ofknown size within the sual contertofa plane can al our perception of ts sxe and scale, -SEHMERA ERTL BAER, FHL BRATREEMRTERT + Tentureand cole together atte sual weit and sed ofa ae andthe dee to whch iasorbs orf: ightand sod tWnMBheve—eDAA-peneeE HERE, URE NERARRH ER EEE fn Directional or orrsiedopical patter can distort the shape or exaggerate the proportion of plane AFHRRAREHLEER, SERFENDE AERP EMM BR. BR. QaNBR SURFACES ARTICULATION Vincent Street Fats \ondon 1928, Sr Edwinkutyens RBHAMAR, Ee. IF, EERE Palazzo Medlci-Ricado, Poence, ly. 1444-1460, Michlorz MER EER, WF Anat 24H, MEO, Teco tear andpatterot suricesartialate te enstnce of planes and uence the vial weg form. RES, RQRNSHRRLR OTE SRHALER a58 Hoffman House, Est Hampton New Yor. 1966-1867 Ricard Meir L BARES, CHEM, BHM, IIIS, Raw Hest FORM /87 SURFACES ARTICULATION 8 / ARCHITECTURE: FORM, SPACE, & ORDER RAINE ‘John Deere & Company Building, lie, lina, 1961-1964, EeroGaarnen& Assciates. ‘Thlner shady dees accra the ratty then fom SN MAMAMAM, 2H. FER M, UOLE—OE, EOE TEER AERA TRADER ANE AE (CBS Buiaing. New York Ciy1962-I964, ro Saarinen Associates. LUncar columnar elements emphasiae the vertical c this ih se structure CBSAM, HAF, IWE—IE, EU ETERS ALRHERSMTREAERAE HERAT nar patter ave the aby tempat the et or gt of tor, anit suraces, and defies textural quay AXNSRAAVENARREM, M-KRE, FRCRKOHE ete Fuluoka Sogo Bank Study of the Saga Branch, 17, Arata soz ‘Agr patter unifies the surfaces ofthe thee dimensional compostion. ane ReR, UNE, Ree SPeRue-4-% Ra. Bt. SOME AETATSNEE SURFACES ARTICULATION ooooo ooodn ooy, oo | Atransfomation froma pattem of OM Research Center La Gunde, Var France, 960-1901, Maral Bresee ‘pein na ane to sn open cade ‘The thre-dimensonalormf the pena crate a etre aight shade, and shadows 1, 1960 — 1961, MAB articated bya linear ramewa. = = =j qi iT LE el L [Te] ou U kd kt Fest Unitarian Chrch Roches: New Yo, 1956-1967 ols ah. The pak etna Dt em tor R—WOMR, FR. HH. SEITE, La AARDROAT MARRS et FORM (88 3 exssm Form & Space “Weput thirty spokes together and calla wheel Bubitis onthe space where theres nothing ‘thatthe ult ofthe whel depends, We tum clay to make avscel But ison the space where theres nothing thatthe utlty ofthe vessel depends Wepierce doors and windows to make a house; and itis on these spaces where there is nothing ‘thatthe wlity ofthe house depends. Therefore, ust as we take advantage of what i, we shoud recognize the utlity of wha sna.” Loot Tao Te Ching th century BRR SHR, EL DAE, ELE. HBA, BP MAE SRE, HELA. MAZWAN, LLMH Re at errs) AaMOES FORM & SPACE ASI Space constantly ercempasses our being. Though te volume of pac, we moe see forms, ear sounds, el breezes, sel he fragrances ofa flower garden in bears amaterial substance ike wood orton tt ‘sainheretly formless apr ts sual forms dmensons and sce, the quit fit ht all of these qualities depend on ou perception ot the spatial oundares dened by elemento forms space begins tobe ‘captured eclosed, mode, ad nprized bythe denots of mas arlitectare comes to eg. SREATSHERERT, AdEMHSERT ATES @ SRR. HIE. SAAR RATER TNTE, SARE NREL -H, ARETE RANE, BR, ERE EH FRPHER, CAMLOR, CHPR ARE, EREARE AAGERT ANAS, PANTER EEN AHCREARSE, SCATUMAEEERMR, BS HAPHERHR, RREPAT 92) ARCHITECTURE: FORM, SPACE, & ORDER RA. KR. SMART Fes S00) FORM & SPACE cs “The Pantheon Rome, AD 120-124 WR, 75, 0-104 ausen FORM & SPACE 90 FORM & SPACE: UNITY OF OPPOSITES © a L__| White-on-black or Black-on-White? ADRRER RBA 94) ARCHTECTURE: FORM, SPACE, & ORDER Two Facosora Vase? ARMBASS—*iR ASSIS: Aca ur visual field normally consist of heterogeneous ements that fer in shapes color. oot ton. Tobetter comprehend the stractar of ea fl, we tend taorgaiz ts element nt tno ‘opposig aroup: postive elemerts ic are perceved as figures andnegatie elements which providea backand forthe figures, tt i ee EEHBR ERYAETE ELUHRREAS: ROM ELSUERAHEN GEE Ourperception and understandag oa composivon depends om hon we terpret the sual interaction betwee the postive and negatie elements within ts fil. Or ths page. or eampl, etteroare secs dark Fares aginst the white backgroud ofthe paper srtce Coneequetly, wear abeto perce ‘heir ogancaton nto words, sentences and paragraphs. othe dag ta the et the etter [sseenasa igure not ny becase we recognize a nour aphabet nt alsobecauselts profes iovaliecontracts wth tat ote nd, a epee ates from is ont As it grows in size eae to ts id, however other elements within and around fein to compete for ow attenton as furs. Attn, the telationchip between ures ani theibickgroued is soambiquous tat we vouly sith he dents back ard forth almost smultanecusy. DUMENESEEESAERS eee ah mineeani. # CXS HERATR RSHRSEREANY Ina cases, howoer shuld ndestand that figures the pote mets that attact ur tention cal nt est tht coasting tacky Furs avd ther tactgrnd sre mere thanoppos demerger, 2 iseparblereaity—auny of opps a the semen offom and space tagether forthe rely of arch BR. Hot, Baw BASS: Wea e— FORM & SPACE: UNITY OF OPPOSITES deterrent 5 ag EL ee fet woe, Sl MM Peo mites Se “et 3 it Bee ‘A. Linedefringthe boundary B.Thetormfsold massrendered _C, Theformof the syatlal oid beeen ool ase and soa tgure rendered as tga spatalvod Aame Be Keen H | CaemeARRCH om em ‘Architectural frm occurs a the uncture etwen mass and space. In ect and reading desi danas. we shoud be corned wtb the fom ofthe mass antag ave of spice as wel as ther fhe spatial volume fe Fragment ofa Map of Rome, drawn by Gianbatista Noll 748 SOMBRE, GEE TIRE y Depa on whatweprcele tobe postive element, the faureground ations ofthe formsof mass and space Can be verti feet parts ofthis rap of Rome. nortlons of the map buldnas appear tobe postive forms hat deine stretsoces cher arts ofthe dav urkan squares courtyards, and major spaces win nportant ub bulings mado pst demento sen aginst th backgroud ofthe 2ureuding Fuld nas. RERTRRYL 4 ase bu, Anetnneeee HERRAS ERE Festi FORW SPACE /95 FORM & SPACE: UNITY OF OPPOSITES Thesymbicti relationship othe forms of masa and space in ancitectrecan be aed and found to estat several dierent cls, At each vd ne shld be concerned not oy withhe frm of a buldng tals its impact on the space aur, Aan rn scale ne shoud caefly consider whether the oof a lings to cortiuetheexsting abricot a place, forma backérop for ether buldngs, define anurat space, oF ete it righ-be sppropte frit stand re a6 a stanfcantcjectin space ad atsbHts LAOH BREE SARE. H ‘A forma wal along ancdge its ste and define a postive contdoor space B.sirroundandencose a courtyard atrium space within itsolume ery itsinteriorspace wth the vate citdoor space olawabed site D. excloseaportonof its site as.anutdoor room E stand asa distinct form in space and dominate teste F. stretch ast and present abroad fice toa feature fits ste 6. sand free within ts site but havo private terior spaces bean extension ofits interior spaces 4H, stand as posite for it negate space e-eeaanE ro ame Piazza of San Marco, Venice BRATS, gee 96 | ARCHITECTURE: FORM, SPACE, & ORDER ' BASSO: Mae Boston City Hal, 1960, Kalman, Mckinnal & Knowles MLWHAT 0a. eee. eene eee 2A. UR. CmORE FAS. Rew ee— Theater in Seiji Finan 1960-1969, ‘var Aaa BARAOBIR, ==, 19685-1009 ls, ‘the scale of building, ne end to read the configurations wal the clerents of plan. The whitespace inbetwecs, however shoud ot be _seensimply is backround fr the wal, bt so asfiuresinthe drawing that have shape and form. E-RRRGRTON. ROMITEARAD RAT EMEHEE ft PERLA RSET ER AMAA HHGE. RECS ES NAR PRAM ER ERAT. SNZTN DARREN, FACT RENAE MDL HERAMOSH ARMAS, RE. EAR ERR EMA EE Re AOTL SMM OREM SABA, THemtecey [AEeNOLMA, 989, CREAR ORS ARS Jere tse FORM & SPACE: UNITY OF OPPOSITES ‘A. Some spaces, sucha fics have pct smi functiens and can be aouped int singe, lean clustered fens. B. Some spaces, suchas concer halls tave spi functional and techical eqiements, and repre spc fom tha wl afc the far the pees aroud the. C. Some spaces. such a lobbies. are fleibe in ature and can therefore be fred dened by the spaces grupo pce are them ARHEM. Oeboe, HARES, OHRMHHE, THEE QMAMTA, RARMTM HA Rreum, wbeen, KuHRH RHSR, RREORKAN TRB R CHAUH. WENT, RHHRKEH, EhidkMEHeHE Shen onys Even atthe scale ofa rom, articles of fumishings can ether stand as fos within a edo space or serve to define te frm ea spatial field. FRE-MRARENA, TRAN TUNA RITE oR Tht, ATURE RSA AREDE SERRA, EH FORMA SPACE / 97 FORM DEFINING SPACE FesRORESEIA) ‘Square in Giron, Colombia, South America aRBrH, HELE, \When we place a two-dimensional aur ona plc of pape infunces the shape ofthe wie space around. Ina sir anne, at tre dimensional for natural articles te volume of space surrounding tad gererate afield cFinfuerceo etary wich cams asits own The follwing section ofthis chapter ols at horaontal nd veri rdementsofformand presents amie tho varus coniguatons ofthese formal erent geterateatd define “pectic types of pace. Henan 66 / ARCHITECTURE: FOAM, SPACE, & ORDER, RA. BR. SaRBR FRR IRAE S18) Bose Plane ‘Ahorzrtal plate ayingas ae ona contraing acarounddeines single ‘il of pace. This feld canbe sualy renforcd nthe folowing way aa he RENE SAKA REL, OF Oh2RRk, RFRA ST AeMRER TER ee Hlevoted Bose Plane ‘hort plone elated abe the groundpane establishes vertical surfaces alongs edges that enforce the vial separation etncen tofeld andthe sarong goed. aa $ERKM THE PahaRias AWARE IGETS easRnEAS 7 Depressed Base Plone ‘Ahorlontal plane depresoe into the oud plane izes te verti rts of the lowered area to define a volume oF sce xara ~hAPETRMAREE, HB TReomEKREEAE-SE nee Overhead Plane ‘Nhoraontal lane locited overhead defines a voc of pace between st ade rund plane. Bt AFERTAWEL, NEWER REL MALE- BASSI HORIZONTAL ELEMENTS DEFINING SPACE FORM 8 SPACE 99 BASE PLANE 100/ ARCHITECTURE: FOAM, SPACE, & ORDER Ry Forahoraotal panto be een as afigre, tere ‘rus bea percept changin clr toe, or teture betwen ts surface and that of the suroundng area, ATR-*KP EMR OR-TOR Ete BRAN RAH AEA. AHEEO. Be MMS LAET OREN ‘The stronger the ed deinion of ahrtzontal plane the more distinct wl be ts ld ATEHERME, ROKER Athough thera cots fon of pace aos Ie the id rect gorestesa patil ne ot rea within ts boundaries AMTARTRASRETRRR, WEE oH. RHRLEEHAR APE tH EMRE Ree ‘The surface articulation ofthe ground or oral often used inarchivertre to define aon of space within aan conto, Te amples on the fing agelustrat how his typeof Spat defiton can bused to diferent betwen a path of mower and places ores, establish fll from whichthe ‘ormot a uling Hees out ofthe rod oracle a furctional zn itn a one room ing env. SMNe. AUREELNAMRA TEAR ERAHREPRE—tERER, T-TR EMREARM, GOAL MNT REO H HRESTARABRORK, EHERED ARARRARTELE-TAR, REDE S-SHMRKERM PRR RL SE en WR: Het. See BASE PLANE ‘Street in Woodstock, Osos, Eland Parterre de Broder, Verslles, France, th century, And Le Nite SORRRAMM, tm, Eu- SAORRE, ATK. EM TER. AR EHE Katsura Palace, Koto, apa, ecentury Interior cf Glass House New Canaan, Comecic, 1949 Filphnson MNBL tm, Bk, THe HMETEA. Fe. REREM, OR, Rake BASS FORW & SPACE 101 ELEVATED BASE PLANE 102) ARCHITECTURE: FORM, SPACE, & ORDER. asmmisae evatngaportin of thease plane ‘eats aspecticdomalnwithin larger patil cee. The ches nl that ceca ly he eae ofthe dead plane

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