Tishk International University

Engineering Faculty
Architectural Engineering Department

Form & Space

Lecturer : WAFAA WASFI YASEEN

[email protected]

Third Lecture
Index
➢What is Form
➢PRIMARY SOLIDS
➢REGULAR AND IRREGULAR FORMS
➢TRANSFORMATION OF FORM
Form
“Architectural form is the point
of contact between mass and
space . . .
Architectural form, textures,
materials, modulation of light
and shade, and color combine
to inject a quality or spirit that
articulates space.
The quality of the architecture
will be determined by the skill
of the designer in using and
relating these elements, both in
the interior spaces and in the
spaces around buildings.”

Edmund N. Bacon:
The Design of Cities - 1974
Form
In the context of this study, form suggests reference to
both internal structure and external outline and the
principle that gives unity to the whole.

While form often includes a sense of three-dimensional

mass or volume, shape refers more specifically to the
essential aspect of form that governs its appearance –
the configuration or relative disposition of the lines or
contours that delimit a figure or form.
In art and design, we often use the term to denote the
formal structure of a work—the manner of arranging and
coordinating the elements and parts of a composition so
as to produce a coherent image.
Form
Shape

The characteristic outline or surface

configuration of a particular form.
Shape is the principal aspect by which
we identify and categorize forms.

In addition to shape, forms have visual properties of:

Form
Size

The physical dimensions of length,

width, and depth of a form.

While these dimensions determine

the proportions of a form, its scale is
determined by its size relative to
other forms in its context.
Form
Color

A Phenomenon of light and visual

perception that may be
described in terms of an
individual’s perception of hue,
saturation, and tonal value.

Color is the attribute that most

clearly distinguishes a form from
its environment. It also affects
the visual weight of a form.
Form
Texture
The visual and especially tactile quality is given to a surface by
the size, shape, arrangement, and proportions of the parts.

Texture also determines the degree to which the surfaces of a

form reflect or absorb incident light.
Form
Texture
Relational Properties of form

1. Position
The location of a form relative to its
environment or the visual field within
which it is seen

2. Orientation
The direction of a form relative to the
ground plane, the compass points,
other forms, or to the person viewing
the form.
Relational Properties of form

3. Visual Inertia
The degree of concentration and stability of a
form.
Summary of the properties of a form

All of these properties of form are in a reality

affected by the conditions under which we view
them.
• A changing perspective or angle of view presents
different shapes or aspects of a form to our eyes.

• Our distance from the form determines its

apparent size.

• The lighting conditions under which we view a form

affects the clarity of its shape and structure.

• The visual field surrounding a form influences our

ability to read and identify it.
PRIMARY SOLIDS
The primary shapes can be extended or rotated to
generate volumetric forms or solids that are distinct,
regular, and easily recognizable.
Circles generate spheres and cylinders, triangles generate
cones and pyramids, squares generate cubes.
In this context, the term solid does not refer to firmness
of substance but rather to a three-dimensional geometric
body or figure.
Sphere

A solid generated by the revolution of a semicircle about

its diameter, whose surface is at all points equidistant
from the center.
A sphere is a centralized and highly concentrated form.
Like the circle from which it is generated, it is self-
centering and normally stable in its environment. It can be
inclined toward a rotary motion when placed on a sloping
plane. From any viewpoint, it retains its circular shape.
Cylinder

A solid generated by the revolution of a rectangle about one of

its sides. A cylinder is centralized about the axis passing
through the centers of its two circular faces. Along this axis, it
can be easily extended.

The cylinder is
stable if it rests
on one of its
circular faces; it
becomes unstable
when its central
axis is inclined
from the vertical.
Cone

A solid generated by the revolution of a right triangle about

one of its sides. Like the cylinder, the cone is a highly stable
form when resting on its circular base, and unstable when its
vertical axis is tipped or overturned. It can also rest on its apex
in a precarious state of balance.
Pyramid

A polyhedron having a polygonal base and triangular faces

meeting at a common point or vertex. The pyramid has
properties similar to those of the cone. Because all of its
surfaces are flat planes, however, the pyramid can rest in a
stable manner on any of its faces. While the cone is a soft
form, the pyramid is relatively hard and angular.
 Cube

A prismatic solid bounded by six

equal square sides, the angle
between any two adjacent faces
being a right angle. Because of the
equality of its dimensions, the
cube is a static form that lacks
apparent movement or direction. It
is a stable form except when it
stands on one of its edges or
corners. Even though its angular
profile is affected by our point of
view, the cube remains a highly
recognizable form.
PRIMARY SOLIDS
Make a discussion about the following buildings, using primary solids
characteristics.
 REGULAR AND IRREGULAR FORMS

Regular forms refer to those whose parts are related to one another in a
consistent and orderly manner: They are generally stable in nature and
symmetrical about one or more axes. The sphere, cylinder, cone, cube, and
pyramid are prime examples of regular forms.
Forms can retain their regularity even when transformed dimensionally or by
the addition or subtraction of elements. Form our experiences with similar
forms, we can construct a mental model of the original whole even when a
fragment is missing or another part is added.
REGULAR AND IRREGULAR FORMS
Irregular forms are those whose parts are dissimilar in nature and related
to one another in an inconsistent manner. They are generally asymmetrical
and more dynamic than regular forms. They can be regular forms from
which irregular elements have been subtracted or results from an irregular
composition of regular forms.
Since we deal with both solid masses and spatial voids in architecture,
regular forms can be contained within irregular forms. In a similar manner,
irregular forms can be enclosed by regular forms.
 REGULAR AND IRREGULAR FORMS

Regular Forms within an

Irregular Composition:
Masjed of Sultan Hasan, Cairo,
Egypt, 1356-63
REGULAR AND IRREGULAR FORMS
REGULAR AND IRREGULAR FORMS
TRANSFORMATION OF FORM

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

variations that are generated by the manipulation of one or more dimensions or
by the addition or subtraction of elements.
• Typed of form transformation:
1. Dimensional Transformation
2. Subtractive Transformation
3. Additive Transformation
1. Dimensional Transformation

• A form can be transformed by altering one or more of its dimensions and still
retain its identity as a member of a family of forms. A cube, for example, can be
transformed into similar prismatic forms through discrete changes in height,
width, or length. It can be compressed into a planar form or be stretched out
into a linear one.
1. Dimensional Transformation

A cube can be transformed into similar prismatic forms by shortening or

elongating its height, width, or depth
1. Dimensional Transformation
1. Dimensional Transformation

• A sphere can be transformed into any number of ovoid or ellipsoidal forms by

elongating it along an axis
1. Dimensional Transformation

A pyramid can be transformed by altering the dimensions of the base,

modifying the height of the apex, or tilting the normally vertical axis
1. Dimensional Transformation
2- SUBTRACTIVE 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. We refer to these mutilated forms as
subtractive forms.
2- SUBTRACTIVE FORM

• Because they are easily recognizable, simple geometric forms, such as the
primary solids, adapt readily to subtractive treatment. These forms will retain
their formal identities if portions of their volumes are removed without
deteriorating their edges, corners, and overall profile
2- SUBTRACTIVE FORM

• Ambiguity regarding the original identity of a form will result if the portion
removed from its volume erodes its edges and drastically alters its profile.
2- SUBTRACTIVE FORM

• In this series of figures, at what point does the square shape with a corner
portion removed become an L- shaped configuration of two rectangular planes?
2- SUBTRACTIVE FORM

• Spatial volumes may be subtracted from a form to create recessed entrances,

positive courtyard spaces, or window openings shaded by the vertical and
horizontal surfaces of the recess
2- SUBTRACTIVE FORM
2- SUBTRACTIVE FORM
3- ADDITIVE FORM

• While a subtractive form results from the

removal of a portion of its original volume,
an additive form is produced by relating or
physically attaching one or more
subordinate forms to its volume

The basic possibilities for grouping two or more forms are by:

▪ Spatial Tension This type of relationship relies on the close proximity of

the forms or their sharing of a common visual trait, such as shape,
color, or material.
Spatial relation
3- ADDITIVE FORM

▪ Edge-to-Edge Contact In this type of relationship, the forms share a

common edge and can pivot about that edge

▪ Face-to-Face Contact This type of relationship requires that the two forms
have corresponding planar surfaces which are parallel to each other.
Face-to-face connection

Edge-to-edge connection
3- ADDITIVE FORM

▪ Interlocking Volumes In this type of relationship, the forms interpenetrate

each other’s space. The forms need not share any visual traits.

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.
Interlocking relation
3- ADDITIVE FORM
Relationship between form
and function

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.
 TRANSFORMATION OF FORM

Dimensional Transformation of a cube into a

vertical slab:
United d’Habitation, Firminy-Vert, France, 1963-68, Le
Corbusier

Subtractive Transformation Creating

Volumes of Space:
Gwathmey Residence, Amagensett, New York, 1967,
Charles Gwathmey/Gwathmy Siegel

Additive Transformation of a Parent Form by the

Attachment of Subordinate Parts:
United d’Habitation, Venice, 1577-92, Andrea Palladio
References
▪ Ching, Francis D. K. Architecture: Form, Space, and
Order, 3rd ed. New York: John Wiley & Sons, Inc.,
2007.
▪ Rocco Design Architects Limited
website http://www. rocco.hk/
▪ Archdaily.com