LESSON no: 04

Additive forms resulting from the accretion of discrete elements can be characterized by their ability
to grow and merge with other forms. For us to perceive additive groupings as unified compositions of
form—as figures in our visual field—the combining elements must be related to one another in a
coherent manner. There are 5 main categories of additive forms, categorized according to the nature
of the relationships that exist among the component forms as well as their overall configurations

1. Centralized Form

Is generated when a number of secondary forms are

clustered about a dominant, central parent-form

Centralized forms require the visual dominance of a

geometrically regular, centrally located form, such
as a sphere, cone, or cylinder. Because of their
inherent centrality, these forms share the self-
centering properties of the point and circle.

They are ideal as freestanding structures isolated

within their context, dominating a point in space, or
occupying the center of a defined field. They can
embody sacred or honorific places, or
commemorate significant persons or events.

2. Linear Form

Is generated when a series of forms is arranged

sequentially in a row

A linear form can result from the proportional

change in a form’s dimensions or the
arrangement of a series of discrete forms along
a line. In the latter case, the series of forms may
be either repetitive or dissimilar in nature and
organized by a separate and distinct element
such as a wall or path.

 A linear form can be segmented for

curvilinear to respond to topography,
vegetation, views, or other features of a
site.
  A linear form can front on or define an
exterior space, or define a plane of
entry into the spaces behind it.

 A linear space can be manipulated to

enclose a portion of space.

 A linear form can be oriented vertically

as a tower element to establish or
denote a point in space.

 A linear form can serve as an organizing

element to which a variety of secondary
forms are attached

3. Radial Form
Is generated when a composition of linear
forms extends outward from a central form in a
radial manner

It combines the aspects of centrality and

linearity into a single composition.

The core is either the symbolic or functional

center of the organization. Its central position
can be articulated with a visually dominant
form, or it can merge with and become
subservient to the radiating arms.

The radiating arms, having properties similar to

those of linear forms, give a radial form its
Secretariat building,
extroverted nature. They can reach out and
UNESCO
Headquarters relate to or attach themselves to specific
features of a site. They can expose their
elongated surfaces to desirable conditions of
sun, wind, view, or space.

Radial forms can grow into a network of centers

linked by linear arms.

4. Clustered Form
A collection of forms grouped together by
proximity or the sharing of a common visual trait.

A clustered organization groups its forms

according to functional requirements of size,
shape, or proximity. A clustered organization
is flexible enough to incorporate forms of
various shapes, sizes, and orientations into
its structure.

Considering their flexibility, clustered

organizations of forms may be organized in
the following ways:

 They can be attached as appendages

to a larger parent form or space.

 They can be related by proximity

alone to articulate and express their
volumes as individual entities.

 They can interlock their volumes and

merge into a single form having a
variety of faces.

A clustered organization can also consist of

forms that are generally equivalent in size,
shape, and function. These forms are visually
ordered into a coherent, nonhierarchical
organization not only by their close proximity
to one another, but also by the similarity of
their visual properties.

A cluster of forms attached to

A cluster of interlocking forms
the parent form

A cluster of articulated forms

5. Grid Form
 A set of modular forms related and regulated by
a three-dimensional grid

A grid is a system of two or more intersecting sets of regularly spaced parallel lines. It generates a
geometric pattern of regularly spaced points at the intersections of the grid lines and regularly
shaped fields defined by the grid lines themselves. The most common grid is based on the geometry
of the square. Because of the equality of its dimensions and its bilateral symmetry, a square grid is
essentially nonhierarchical and bidirectional.

It can be used to break down the scale of a surface into measurable units and give it an even texture.

It can be used to wrap several surfaces of a form and unify them with its repetitive and pervasive
geometry.

The square grid, when projected into the third dimension, generates a spatial network of reference
points and lines. Within this modular framework, any number of forms and spaces can be visually
organized.

FORMAL COLLISION OF GEOMETRY

When two forms differing in geometry or orientation collide and interpenetrate each other’s
boundaries, each will compete for visual supremacy and dominance. In these situations, the
following forms can evolve:
  The two forms can subvert
their individual identities and
merge to create a new
composite form

 One of the two for can

receive the other totally
within its volume

 The two forms can retain

their individual identities and
share the interlocking
portion of their volumes

 The two forms can separate

and be linked by a third
element that recalls the
geometry of one of the
original forms

ARTICULATION OF FORM
Articulation refers to the manner in which the surfaces of a form come together to define its shape
and volume. An articulated form clearly reveals the precise nature of its parts and their relationships
to each other and to the whole. Its surfaces appear as discrete planes with distinct shapes and their
overall configuration is legible and easily perceived. In a similar manner, an articulated group of
forms accentuates the joints between the constituent parts in order to visually express their
individuality.

A form can be articulated by:

 Differentiating adjoining planes with a change in material, color, texture or pattern

 Developing corners as distinct linear elements independent of abutting planes

 Removing corners to physically separate neighboring planes

 Lighting the form to create sharp contrasts in tonal value along edges and corners.
Corners and edges
Since the articulation of a form depends to a great degree on how its surfaces meet each other at
corners, how these edge conditions are resolved is critical to the definition and clarity of a form.

While a corner can be articulated by simply contrasting the surface qualities of the adjoining planes,
or obscured by layering their joining with an optical pattern, our perception of its existence is also
affected by the laws of perspective and the quality of light that illuminates the form.

Condition: For a corner to be formally active, there must be more than a slight deviation in the angle
between the adjoining planes.

1. Corners define the meeting of two planes. If the two planes simply touch and the corner
remains unadorned, the presence of the corner will depend on the visual treatment of the
adjoining surfaces. This corner condition emphasizes the volume of a form.

2. A corner condition can be visually reinforced by introducing a separate and distinct element
that is independent of the surfaces it joins. This element articulates the corner as a linear
condition, defines the edges of the adjoining planes, and becomes a positive feature of the
form.
3. If an opening is introduced to one side of the corner, one of the planes will appear to bypass
the other. The opening diminishes the corner condition, weakens the definition of the
volume within the form, and emphasizes the planar qualities of the neighboring surfaces.

4. If neither plane is extended to define the corner, a volume of space is created to replace the
corner. This corner condition deteriorates the volume of the form, allows the interior space
to leak outward, and clearly reveals the surfaces as planes in space.
 5. Rounding off the corner emphasizes the continuity of the bounding surfaces of a form, the
compactness of its volume, and softness of its contour. The scale of the radius of curvature is
important. If too small, it becomes visually insignificant; if too large, it affects the interior
space it encloses and the exterior form it describes.

Surface Articulation

Our perception of the shape, size, scale, proportion, and visual weight of a plane is influenced by its
surface properties as well as its visual context.

 A distinct contrast between the surface color of a plane and that of the surrounding field can
clarify its shape, while modifying its tonal value can either increase or decrease its visual
weight.
 A frontal view reveals the true shape of a plane; oblique views distort it.

 Elements of known size within the visual context of a plane can aid our perception of its size
and scale.

 Texture and color affect the visual weight and scale of a plane and the degree to which it
absorbs or reflects light and sound.
 Directional or oversized optical patterns distort the shape or exaggerate the proportions of a
plane