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PRINCIPALS OF SPATIAL DESIGN

FORM (PART 2)

In this quarter we are going to look at: An introduction to the basic elements (form,
space, order as experienced through movement in space and time), systems and
organization that constitute a work of architecture and its interior spaces.

We will focus on 3-dimensional FORM, SPACE AND ORDER. We will look at how we use
the elements to create form, and then how form shapes the space surrounding it and the
principles we use when creating space/design - spatial relationships and spatial
organisations

This will hopefully also enable you to be more aware of how you can use/manipulate these
elements to change spatial impressions.

*Touch on last week: WHY DO WE NEED TO KNOW ABOUT BASIC ARCHITECTURAL

ELEMENTS?

Designers inevitably and instinctively prefigure solutions to the problems they are
confronted with, but the depth and range of
their design vocabulary influence both their perception of a question and the shaping of
its answer. If one’s understanding of a
design language is limited, then the range of possible solutions to a problem will also be

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limited.

The arrangement and ordering of forms and

spaces also determine how architecture might promote functions, elicit responses, and
communicate meaning. So, while this
study focuses on formal and spatial ideas, it is not intended to diminish the importance of
the social, political, or economic
aspects of architecture. Form and space are presented not as ends in themselves but as
means to solve a problem in response
to conditions of function, purpose, and context—that is, architecturally.

The analogy may be made that one must know and understand the alphabet before words
can be formed and a vocabulary
developed; one must understand the rules of grammar and syntax before sentences can be
constructed; one must understand
the principles of composition before essays, novels, and the like can be written. Once these
elements are understood, one
can write poignantly or with force, call for peace or incite to riot, comment on trivia In a
similar way, it might be appropriate to be able to recognize the basic elements of form and
space and understand how they
can be manipulated and organized in the development of a design concept, before
addressing the more vital issue of meaning in
Architecture or speak with insight and meaning..’’

We will start off by revisiting FORM – that is three dimensional, then dealing with form in
more depth.

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 FORM
Regular and Irregular Forms

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Principles of Spatial Design - Form

LECTURE 2 – FORM CONTINUED

Regular
Regular forms refer to those whose parts are related to one another in a consistent and
orderly manner.

Generally stable, natural and symmetrical.

Sphere, cylinder, cone, cube, pyramid. They can still be regular even if parts are subtracted
or added.

Irregular
Irregular forms are those whose parts are dissimilar in nature and related to one another
in an unconventional way.

Generally asymmetrical and dynamic.

They can be regular forms that had irregular forms subtracted from them.

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 Regular and Irregular Forms
Since we deal with both solid masses
and spatial voids in architectural
design, regular forms can be
contained within irregular forms.

In a similar manner, irregular forms can

be enclosed by regular forms.

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Principles of Spatial Design - Form

Since we deal with both solid masses and spatial voids in architectural design, regular
forms can be contained within irregular forms.

In a similar manner, irregular forms can be enclosed by regular forms.

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 Transformation
DIMENSIONAL TRANSFORMATION

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Principles of Spatial Design - Form

All other forms can be seen as transformations of the primary solids.

Variations are generated by:

• Manipulation of one or more dimensions; - still retains its identity as a member of a

family of forms.

• The subtraction of elements from the form;

• The addition of elements to the form.

This is known as dimensional transformation

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 Transformation
SUBTRACTIVE FORM

A form can be transformed by subtracting

a portion of its volume.

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Principles of Spatial Design - Form

We search for regularity and continuity in the forms we see within our field of vision.

If any of the primary solids is partially hidden from our view, we tend to complete its
form and visualize it as if it were whole because the mind fills in what the eyes do not see.
In a similar manner, when regular forms have fragments missing from their volumes, they
retain their formal identities if we perceive them as incomplete wholes.

Because they are easily recognizable, simple geometric forms adapt well to subtractive
treatment.
They will tend to retain their formal identities if portions of their volumes are removed
without deteriorating their edges, corners and overall profile.
Ambiguity regarding the original identity of a form will result if the portion removed
erodes its edges and drastically alters its profile.

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 Transformation
ADDITIVE FORM

An additive form is produced by

relating or physically attaching one or
more subordinate forms to its volume.

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Principles of Spatial Design - Form

The nature of additive process and the number and relative sizes of the elements being
attached determine whether the identity of the initial form is altered or retained.

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 ADDITIVE FORM: GROUPINGS
SPATIAL TENSION

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Principles of Spatial Design - Form

WHEN GROUPING FORMS TOGETHER THERE ARE VARIOUS WAYS OF PLACING THEM AND
BY WHICH WE ESTABLISH A VISUAL ATMOSPHERE

SPATIAL TENSION - This type of relationship relies on the close proximity of the forms or
their sharing of a common visual trait, such as shape, colour, or material.

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 ADDITIVE FORM: GROUPINGS
EDGE-TO-EDGE CONTACT

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Principles of Spatial Design - Form

• EDGE-TO-EDGE CONTACT - In this type of relationship, the forms share a common edge
and can pivot about that edge.

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 ADDITIVE FORM: GROUPINGS
FACE-TO-FACE CONTACT

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Principles of Spatial Design - Form

• FACE-TO-FACE CONTACT - This type of relationship requires that the two forms have
corresponding polar surfaces which are parallel to each other.

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 ADDITIVE FORM: GROUPINGS
INTERLOCKING VOLUMES

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Principles of Spatial Design - Form

INTERLOCKING VOLUMES - In this type of relationship, the forms cut into each other’s
volumes. The forms need not share any visual traits

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 ADDITIVE FORM
ORGANISATION & RELATIONSHIPS

Centralised forms

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Principles of Spatial Design - Form

For us to perceive these additive groupings as unified compositions of form, the forms
need to be related to each other in a coherent and close-knit manner.
WE CATEGORIZE ADDITIVE FORMS ACCORDING TO HOW WE ORGANISE THE FORMS IN
RELATION TO EACH OTHER/ THE RELATIONSHIP THAT IS ESTABLISHED BETWEEN THE
FORMS

• CENTRALISED FORMS - Consist of a number of secondary forms clustered about

dominant, central parent-forms.

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 ADDITIVE FORM
ORGANISATION & RELATIONSHIPS

Centralised forms

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Principles of Spatial Design - Form

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 ADDITIVE FORM
ORGANISATION & RELATIONSHIPS

Linear forms

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Principles of Spatial Design - Form

• LINEAR FORMS - Consist of forms arranged sequentially in a row.

St Mark’s Square - Venice

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 ADDITIVE FORM
ORGANISATION & RELATIONSHIPS

Radial forms

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Principles of Spatial Design - Form

• RADIAL FORMS - Are compositions of linear forms that extend outward from central
forms in a radial manner.

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 ADDITIVE FORM
ORGANISATION & RELATIONSHIPS

Clustered forms

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Principles of Spatial Design - Form

• CLUSTERED FORMS - Consist of forms that are grouped together by proximity or the
sharing of a common visual trait.

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 ADDITIVE FORM: Clustered Forms

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Principles of Spatial Design - Form

• CLUSTERED FORMS - Consist of forms that are grouped together by proximity or the
sharing of a common visual trait.

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 ADDITIVE FORM
ORGANISATION & RELATIONSHIPS

Grid forms

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Principles of Spatial Design - Form

• GRID FORMS - Are modular forms whose relationships are regulated by three-
dimensional grids.

Capsule building in Tokyo

TO SUMMARISE: Form can be transformed by dimensional transformation, subtractive

and additive transformation
Additive transformation happens in the following form: centralised, linear, radial,
clustered or grid.

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 ARTICULATION of Form

NOTRE DAM DU HAUT, Ronchamp, Le Corbusier

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Principles of Spatial Design - Form

Articulation refers to the manner in which the surfaces of a form or forms meet in order to
define and shape a volume/space.

An articulation of form clearly reveals the precise nature of its parts and their
relationships to each other and the whole.

Its surfaces appear as discrete (meaning: individually separate and distinct) planes with
distinct shapes and their configuration is legible and easily perceived.

Articulation is a method of styling the joints in the formal elements of design. Through
degrees of articulation, each part of the form is united with the whole by mean of a joint.
Since the articulation of a form depends on how its surfaces meet at corners, how these
edge conditions are resolved is critical to the definition and clarity of a form.

Forms can be articulated in 3 ways: Surface articulation, lighting and treating the edge
condition.

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 ARTICULATION of Form
A form can be articulated by:
SURFACE ARTICULATION

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Principles of Spatial Design - Form

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

A plane’s shape can be articulated by contrasting the colours of its surface and the
surrounding field. The visual weight of a plane can be increased or decreased by
manipulating the tonal value of its surface color.

The texture of a plane’s surface, together with its color, will affect its visual weight, scale,
and light-reflective qualities.

• SURFACE ARTICULATION – 1. differentiating adjoining planes with a change in material,

colour, texture, or pattern.
2. NEXT SLIDE

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 A form can be articulated by:
SURFACE ARTICULATION

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Principles of Spatial Design - Form

• SURFACE ARTICULATION – 1. (PREVIOUS SLIDE)

2. material, colour, texture, or pattern that can be carried
across a corner onto the adjoining surfaces to de-emphasize the
individuality of the surface planes and emphasize instead
the volume of a form.

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 A form can be articulated by:
LIGHTING

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Principles of Spatial Design - Form

• LIGHTING - lighting the form to create sharp contrasts in tonal value along edges and
corners.

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 NOTRE DAM DU HAUT, Ronchamp, Le Corbusier

A form can be articulated by:

TREATING THE EDGE CONDITION

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Principles of Spatial Design - Form

• EDGE CONDITION – treating the edge condition

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 definition and clarity of a form.

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 A form can be articulated by:
TREATING THE EDGE CONDITION

NOTRE DAM DU HAUT, Ronchamp, Le Corbusier

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Principles of Spatial Design - Form

If the two planes simply touch and the corner remains unadorned (make more beautiful
or attractive), the presence of the corner will depend on the visual treatment of the
adjoining surfaces.

This corner condition emphasizes the volume of a form

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 A form can be articulated by:
TREATING THE EDGE CONDITION

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Principles of Spatial Design - Form

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.

If neither plane is extended to define the corner, a volume of space is created to replace
the corner, allowing the interior space to leak/seep out.

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 A form can be articulated by:
TREATING THE EDGE CONDITION

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Principles of Spatial Design - Form

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 small – a subtle effect ensues

if large – the form changes and determines the volume

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