FRANCIS D.K.

CHING – ARCHITECTURE FORM, SPACE AND ORDER

SUMMARY NOTES

1 indicates a position in space Point

with length, direction and position
2 Line

3 with length, width, shape, surface, orientation and position Plane

4 with length, width and depth, form and space, surface, orientation, position Volume

5 can be stable (centered) or aggressive (off-center) which creates visual tension. Point

described by two points connected; can be considered as a segment of a longer path; can suggest an axis; can describe direction,
6 movement or growth; can have different qualities; the configuration of linear elements can define planes which can also define a Line
space.

line extended in a direction other than its intrinsic direction. Shape is the primary identifying
7 Plane
characteristic of a plane which is determined by the contour of the edges. The true shape of a plane can only be view frontally

plane extended in direction other than its intrinsic direction; consisting of points or vertices, lines
8 Volume
or edges and planes or surfaces; can be solid that has a mass or a void.

the formal structure of a work (in art and design), the manner of arranging and coordinating the
9 Form
elements and parts of a composition so as to produce a coherent image

the characteristic outline or surface configuration of a particular form, a principal aspect in

10 Shape
identifying and categorizing forms

11 determined by the physical dimensions which also determine the proportion. Size

12 determined by size relative to other forms in its context Scale

phenomenon of light and visual perception, most clearly distinguishes the form from its
13 Color
background and also affect the visual weight

visual and tactile quality due to the surface configuration, also determines the reflectance
14 Texture
or absorption of light

15 location of form relative to environment or the visual field Position

direction of form relative to the ground plane, compass points, other forms or the person
16 Orientation
viewing it

degree of concentration and stability of a form which depends on its geometry and
17 Visual Inertia
orientation

any figure with two dimensions and can also refer curved two-dimensional surfaces that defines
18 Surfaces
the boundary of a 3D solid

generated by sliding a straight line along a plane curve or vice versa; also
19 Cylindrical surfaces
regarded a translational or ruled surface.
generated by sliding a plane curve along a straight line or over
20 Translational surfaces
another plane curve
21 generated by the motion of a straight line; easier to construct Ruled surfaces

22 generated by rotating a plane curve about an axis (i.e. sphere). Rotational surfaces

contains planar intersections that are either parabolas and ellipses or

23 Paraboloid surfaces
parabolas and hyperbolas.

plane curves generated by a moving point that remains equidistant from a fixed
24 Parabolas
line and a fixed point not on the line.

plane curves formed by the intersection of a right circular cone with a plane that
25 Hyperbolas
cuts both halves of the cone.

generated by sliding a parabola with downward curvature along a parabola with upward curvature or by sliding a straight line
26 Hyperbolic paraboloid surfaces
segment with its ends on two skew lines; also considered as both translational and ruled surface.

with upward curvature in one direction and downward on perpendicular

27 Saddle surfaces
direction; basically a double curved surface

a structural system that uses double curved surfaces and usually made of
28 Shell structure
thin, plates of reinforced concrete

pioneered by Russian engineer Vladimir Shukhov which also rely on double curved geometry but made of grid or lattice. It also
29 Gridshell structure
relies on computer modelling programs for irregular curved surfaces

are volumetric forms generated by extending or rotating the primary shapes and which
30 Primary solids
creates a distinct, regular and easily recognizable forms.
 generated by revolving semicircle about its diameter and all points are equidistant from the
31 center; centralized and highly concentrated; also self-centering and normally stable; retains its Sphere
circular shape from any direction

generated by revolving a rectangle about one of its sides; centralized about the axis; stable if resting on the circular sides and
32 Cylinder
unstable if the central axis is incline from the vertical

generated by revolving a right triangle about one of its sides; highly stable when resting on
33 Cone
circular side and unstable on its tips.

polyhedron having a polygonal base and triangular faces meeting at a common point or
34 Pyramid
vertex; stable on any of its faces; basically hard and angular compared to the soft cone.

a prismatic solid bounded by six equal square sides with right angles of intersection; static
35 Cube
form without apparent movement.

both can be generated from transformations of forms, and can be both used
36 Regular and Irregular Forms
in building forms in multiple ways.

with parts related in consistent and orderly manner, generally stable in nature, symmetrical about one or more axes (i.e. sphere,
37 Regular Forms
cylinder, cone, cube and pyramid)

with parts that are dissimilar in nature and related in inconsistent manner,
38 Irregular Forms
generally asymmetrical and more dynamic

All other forms can be understood to be transformations of the primary solids or

39 Transformation of Forms
variations of its dimensions.

40 altering one of its dimensions, results in the same familiar form. Dimensional transformation

subtracting a portion of its volume, may or may not retain its initial identity; also known as mutilated forms; ambiguity of the
41 Subtractive Transformation
original form results if the portion removed from its volume erodes its edges and alters the profile;

by addition of elements to its volume, may or may not retain its initial
42 Additive Transformation
identity.

relies of close proximity of the forms or sharing common trait such

43 Spatial tension
as shape, color or material

44 share common edge and can pivot about that edge Edge-to-edge contact

requires that the two forms have corresponding planar

45 Face-to-face contact
surfaces which are parallel to each other

the forms interpenetrate each other’s space, the forms need

46 Interlocking volumes
not share any visual traits.

secondary forms clustered about a dominant central parent-form;

47 requires the visual dominance of a geometrically regular and central form such as Centralized Form
sphere, cone or cylinder

series of forms arranged in a row or proportional change in the form’s

48 Linear Form
dimensions

linear forms extending outward from central form in a radial manner; basically combination of centrality and linearity; can create
49 Radial Form
a network of centers linked by linear forms; form is best viewed from aerial view.

collection of forms grouped together by proximity or the sharing of common visual trait or function; it lacks geometric regularity
50 and introvertness of centralized form but it is flexible for different types of forms; can be organized by attachment to a larger Clustered Form
component, related by proximity or interlock with other volumes

set of modular forms related and regulated by a three-dimensional grid which is a system of two or more intersections of the grid
51 Grid form
lines

the manner in which the form surfaces come together to define its shape and volume which clearly reveals the precise nature and
52 Articulation of Form
relationships of parts and the whole

53 perception of space is influenced by the surface properties and visual context Surface Articulation

54 created, enclosed, molded and organized by the spatial boundaries defined by elements of form. Space

is understood by organizing its elements into two opposing groups – positive elements (figures)
55 Visual field
and negative elements (background).

occurs at the juncture between mass and space. The symbiotic relationship of the forms of mass and space in architecture can be
56 Architecture form
examined and found to exist at several different scales (room scale to urban scale).

naturally articulates the volume of space the volume of space surrounding it and generates a field of influence or territory which
57 it claims as its own. Horizontal and vertical elements of form three-dimensional form
generate different types of spaces
58 horizontal elements can also define vertical boundaries implicitly. Horizontal Elements Defining Space

59 simple figure contrasted from the background, with continuous flow around Base Plane

creates specific domain within a larger context, flow is interrupted; depending on the height, visual continuity and spatial
60 continuity may be interrupted; can be natural or artificially constructed; can act as transitional space to the interior such as a Elevated Base Plane
porch or veranda;

different effects are produced by the height of the depressions. Examples

61 Depressed Base Plane
are sunken plaza, step wells, sunken lobby or floors

defines a space between itself and the ground plane; can define a discrete volume of space virtually by itself; columns can
62 Overhead Plane
reinforce the spatial limits it creates; examples are roof plane (major building element) and ceiling plane.

has greater presence in our visual field than horizontal planes; provides
63 Vertical Elements Defining Space
a sense of enclosure, privacy and climatic protection

64 A column within a defined volume of space will generate a spatial field about itself and interact with the spatial enclosure Vertical Linear Elements

has frontal qualities and established the edges of two distinct spatial fields; but to define a dimensional volume of space, it must
65 Single Vertical Plane
interact with other elements of form; vertical planes depend on its height by eye level to visually describe space

defines a field of space along a diagonal formed from its corner outward; ther other edges are ambiguous; open-ended, flexible
66 L-shaped Vertical Plane
space-defining elements; one good example is a typical L-shaped houses with open courtyard

defines a field of space between them; has directional quality and axis; extroverted in nature; openings introduce secondary axes
67 Parallel Vertical Plane
to the field and modulate the directional quality of the space

68 with inward focus and outward orientation; secondary zones are created when openings are provided at the corners U-shaped Planes

most typical and strongest type of spatia definition, natural introverted; appears in multiples scales from rooms to urban scale;
69 Four Planes (Closure)
examples are building skins, thin shells, diagrid which enclose building spaces

70 provide spatial and visual continuity, establish visual relationships between adjacent spaces Openings

Effect of Openings on the Qualities of

71 The spatial qualities of form, proportion, scale, texture, light and sound depend on the properties of the enclosure of a space
Architectural Space

72 determined by the configuration of defining elements and the pattern of openings; Degree of Enclosure

animates the space of the room and articulates the forms within it; the amount of openings is
73 Light
regulated by multiple factors such as climate, materials, code requirements, privacy and exterior effect

74 considering focus and orientation; different configuration of openings provide different views View

Spaces can be related to each other – as space within a space, interlocking spaces (overlapping volumes), adjacent spaces
75 Spatial Relationships
(abutting or sharing common border) and spaces linked by a common space (with intermediary space).

the larger enveloping space serves as a three-dimensional field for the smaller space; the contained space is relatively smaller in
76 size; configuration of the contained space can vary Space within a Space
and produce different effects.

77 overlapping of two spatial fields and the emergence of a shared space nterlocking Spaces

the most common type of spatial relationship; each space is clearly defined; visual and spatial continuity depends on the nature
78 Adjacent Spaces
of the plane that both separates them; the separating plane can be physical (wall) or ambiguous (change in elevation).

the visual and spatial relationship between two spaces depends on the nature of the third linking space; the linking space can be
79 Spaces linked by a Common Space
large, centralized, linear or similar to the linked spaces.

can be influenced by different requirements or factors such as function, flexibility of

80 Spatial Organizations
the space, privacy, accessibility, etc.

81 has a central dominant space about which a number of secondary spaces are grouped; inherently nondirectional, introverted. Centralized Organization

a linear sequence of repetitive spaces or essentially a series of spaces; can be

82 Linear Organization
directly linked together or linked to a linear space; each space has exterior exposure

a central space from which linear organizations of space extend in a radial manner; combination of both centralize and linear
83 Radial Organization
organization, extroverted
 spaces grouped by proximity or the sharing of a common visual trait or relationship; with repetitive, cellular spaces that can be
84 Clustered Organization
similar or dissimilar in terms of function, size or orientation

spaces organized within the field of a structural grid or other three-dimensional framework; the organizing power of grid results
85 Grid Organization
from regularity and continuity of its pattern which is a stable field of reference for organizing any type of spaces

Path of movement links the spaces since we move in time throug a sequence of spaces. The circulation system in a building affect
86 Circulation
our perceptions of the forms and spaces of the building.

87 distant view Approach

88 from outside to inside Entrance

89 sequence of spaces Circulation of the Path

90 edges, nodes and terminations of the path Path-Space Relationships

91 corridors, halls, stairways and rooms Form of the Circulation Space

92 first phase of the circulation system; Approach

93 leads directly to the entrance along a straight axial path Frontal

94 enhances the perspective, can be redirected to delay or prolong the approach Oblique

prolongs the sequence of the approach and emphasizes the three-dimensional form of a
95 Spiral
building

involves the act of penetrating a vertical plane that distinguishes the inside and outside; the act of entering can be subtle
96 (holewith change in level) or articulated (grand gateway); best signified by a vertical plane perpendicular to the path of the Entrance
approach.

97 maintans the continuity of the surface of a wall and can be deliberately obscured Flush

98 forms a transitional space announcing its function to the approach Projected

99 provides shelter and receives a portion of the exterior into the interior Recessed

all types of movement paths are linear in nature with starting point and destination; contour and characteristics of path depends
100 Circulation of the Path
on the mode of transportation; intersection of paths are important because of decision-making for the person approaching it;

101 can be straight, curvilinear or segmented, intersecting, branched or looped Linear

102 with linear paths extending from a central common point Radial

103 single, continuous path originating at central point then revolving around it Spiral

104 two sets of parallel paths intersecting at regular intervals Grid

105 consists of paths that connect established points in space Network

106 combination of the configurations above Composite

107 paths are related to the spaces they link in the following ways: Path-Space Relationships

each space has maintained integrity, configuration of path is flexible, mediating

108 Pass by Spaces
spaces can be used to link the path with the spaces

109 path creates patters of rest and movement within the penetrated space Pass through Spaces

110 the location of the space establishes the path, used to approach and enter functionally or symbolically important spaces Terminating in a Space

varies according to its boundaries, form of the spaces, scale, proportion, light and view qualities, entrances opening onto it and
111 Form of the Circulation Space
changes in levels. A circulation space may be:

112 stairs or corridoer Enclosed

113 balcony or gallery Open on One Side

114 colonnade Open on Both Sides

115 alludes to the size of something compared to a reference standard or to the size of something else Scale

116 refers to the proper or harmonious relation of one part to another or to the whole. Proportion

All materials have rational proportions that dictate its inherent strengths and
117 Material Proportions
weaknesses.

size and proportion of certain elements are directly related to their structural function (i.e. depth of a beam is a critical dimension
118 Structural Proportions
and the depth-to-span ratio is an indicator of its structural role)

119 standard size and proportions due to manufacture process and mass production. Manufactured Proportions

defined as the ratio between sections of a line, or the two dimensions of a plane figure, in
120 which the lesser of the two is to the greater is to the sum of both. It is expressed algebraically by the equation of two ratios: a/b = Golden Section
b/(a+b).

121 a rectangle whose sides are proportioned according to the Golden Section. Golden Rectangle

lines that indicate common alignment of elements (i.e. parallel diagonals of two
122 Regulating Lines
rectangles with similar proportions).
represented the proportioning of elements with perfect expression of beauty and harmony.
123 The basic unit dimension was the diameter of the column from which other measurements are derived. Classical Orders

124 is the spacing between columns based on column diameter. Intercolumniation

the architects of the Renaissance, believing that their buildings had to belong to a higher order, returned to the Greek
125 Renaissance Theories
mathematical system of proportions

developed by Le Cobusier to order “the dimensions of that which contains and that which is contained” based on the Golden
126 Section. Le Corbusier published “The Modulor: A Harmonious Measure to the Human Scale Universally Applicable to Modulor
Architecture and Mechanics” in 1948 and “Modulor II” in 1954

a modular grid based from the unit of ken; The traditional Japanese unit of measure, the shaku, was originally imported from
127 Ken
China which is almost equivalent to English foot and divisible into decimal units.

functional type of proportions, based on the theory that forms and spaces in architecture are either containers or extensions of the
128 Anthropometry
human body and should therefore be determined by its dimensions.

129 basically comparison of one thing or another Scale

refers not to the actual dimensions but rather how small or large an object appears in relation to its normal size or the size of
130 Visual scale
other things in its context

131 size or proportion of something relative to an accepted standard of measurement. Mechanical scale

132 based on the dimensions and proportions of the human body. Human scale

a line established by two points in space, about which forms and spaces can be arranged in a
133 Axis
symmetrical or balanced manner.
the balanced distribution and arrangement of equivalent forms and spaces on opposite sides of a dividing line or plane or about a
center or axis; requires the balanced arrangement of equivalent patterns of form and space on opposite sides of a dividing line or
134 Symmetry
plane or about a center or axis.

the articulation of the importance or significance of a form or space by its size, shape or
135 Hierarchy
placement relative to the other forms and spaces of the organization.

136 achieved by using a form with exceptional size, unique shape or a strategic location Visual significance or emphasis

a unifying movement characterized by a patterned repetition or alternation of formal elements or motifs in the same or a
137 Rhythm
modified form; incorporates the fundamental notion of repetition as a device to organize forms and spaces in architecture.

utilizes the concepts of proximity and similarity to order recurring elements in a composition. The simplest form of repetition is
138 Principle of repetition
a linear pattern of redundant elements (i.e. structural columns).

a line, plane or volume that, by its continuity and regularity, serves to gather, measure and
139 organize a pattern of forms and spaces; organizes a random pattern of elements through its regularity, continuity and constance Datum
presence.

the principle that an architectural concept, structure or organization that can be altered through a series of discrete manipulations
140 Transformation
and permutations in response to a specific context or set of conditions without a loss of identity or concept