REPUSLIC OF THE PHILIPPINES PALAWAN STATE UNIVERSITY PUERTO PRINCESA CITY, PALAWAN, COLLEGE OF ENGINEERING, ARCHITECTURE AND TECHNOLOGY RESEARCH 1- aRcnirectura. ARCHITECTURAL DESIGN TT SUBMITTED BY: DEW MESIAH SAYANG 2ND YEAR = BLOCK A SUBMITTED TO: AR. CYNDI GERSALIAARCHITECTURAL FORMS "ARCHITECTURAL FORM 18 THE POINT OF CONTACT BETHEEN MASS AND SPACE, FORMS, TEXTURES, MATERIALS, MODULATION OF LIGHT AND SHADE, COLOR, ALL COM: BINED 70 NJECT A QUALITY OR SPIRIT THAT ARTICULATES THE SPACE." A. FORM -asroxo concePt Witt MANY CONNOTATIONS. T MGHT REFER 70 y RECOGNIZABLE OUTWARD APPEARANCE. NV ART AND DESIGN, THE PHRASE 1 A ciaserty Usep Ag WORKS FORMAL ORGANISATION, THE WAT ITS COMPONENT Tee PREANGED AND COORPINATED TO CREATE A COHERENT WHOLE: At) VISUAL PROPERTIES OF FORM LSHAPE = te cueserensnc ome of IRTAGE courgeeon OFAPARTIUA A Penn ishe Pancita 280 Be Hc ve exeaone® FoR 2. SIZE - tHe prvsicat biaensions OF REIGHT, LENGTH, WIDTH AND DEPTH OF A FORM. WHILE THIS DIMENSIONS DETERWNE THe PROPORTIONS OF A FORM, 'TS SCALE IS DETERMINED BY I's SIZE RELATIVE To OTHER FORM IN IAS Oluth CONTEXT. 3. COLOR - 4 paenomenon oF Lider AND VISUAL PERCEPTION THAT MAY BE DESCRIOE Iky ONE'S PERCEPTION OF HUE , SATURATION, AND TONAL VALUE, COLOR IS THE ATTRIBUTE TWAT MOcT CLEARLY DISTINGUSHES & FoRM Row. ITS ENVIRONMENT. IT Algo AFFECTS VISUAL WEIGHT OF A FORM. 4. TEXTURE - tae visuat avo tact QUALITY GIVEN TOA SURFACE BY THE SIZE, SHAPE, ARRANGEMENT AND PROPORTION OF THE PARTS. THE TEXTURE ALSD DETERMINES DEGREE 70 WiC THE SURFACES OF A FORM 4S REFLECT OR ABSORB INCIDENT LIGHT: 5. POSITION - tue Loceniow oF & Fort > RELIVE TO FIS ENVIRONMENT OR THE VISUAL FELD WMHIN ied TT 1S SEEN 6. ORIENTATION --¢ oinection oF ‘A FORM RELATIVE TO IIS ENVIRONMENT OR THE VISUAL GROUND PLANE) COMPASS POINTS, OR To THE PERSON VIEWING THE FORM,r 7 VISUAL INERTIA. te pcre oF con- CENTRATION AND STABILITY OF A FORM. THIS USUALLY DEPENDS OW MIS GEOMETRY AS WELL ORIENTATION RELATIVE ON THE GROUND. A2. ELEMENTS OF FORM PRIMARY IN ARCHITECTURAL DESIGN, EACH ELEMENT |S FIRST TAKEN INTO ACCOUNT As A CONCEPTUAL ELEMENT AND THEN AS A VISUAL ELEMENT. THE POINT, LINE, PLANE, AND VOLUME ARE ONLY CONCEPTUAL IN THE MIND'S EYE AS CONCEPTUAL ELEMENTS. WE SENSE THEIR EXISTENCE EVEN THOUGH THEY DONT REALLY EXIST: 4. POINT Locanion is inoicateD BY & Powet IN SPACE. iT as nO LenaTa, worm,on perm. @ IT'S THEORETHICALLY CENTERED, IMMOVABLE, [AND DIRECTIONLESS. THOUGH A POINT DON'T ACTUALLY HAVE A FORM IT BECOME ONE WHEN PLACED IN A VISUAL FIELD. 2. LINE -cu seve » sm, .anysurromaso © SURROUND OTHER VIRTUAL ELEMENT. EVEN IT HAS ONE - DIMENSION, {T MUST HAVE SOME DEGREE OF \ ems teone nun eae Ihe anny becuse Ye uneitt Doves Ie peiiartl 3. PLANE - 1s roan win ative is extenven 18 A DMECTON OTHER THAN ME WATURAL DIRECTION. IT HAS WIDTH AND LENGHT BUT NO DEPTH. 17 iS DET- ERMNED 24 THE PATTER OF THE LINE DEPINNG HE BORDERS OF THE PLANE, BECAUSE OUR SENSE OF SH- APE MAY BE DPACTED BY PERSPECTIVE FORESHORTENINGK. a VOLUME - create nen & PLANE is expaNveD [AVIS FROM 11S NATURAL. DIRECTION. THE THREE «DIM ENSION OF VOLUME ARE LENGTH, BREADTH AND WIDTH. DEPTH ITS KEY DISTINGUICHING Fl@URE |S FORM. 11S DETERMINED By THE CONTOURS AND CONNECTIONS BETAREN THE PLANES THAT CHARACTERIZE THE VOLUME LIMITS. ITIS A THREE - PIMENSIONAL COMPONENT USED IN ARCHITECTURAL DESIGN "KAT CAN BE ETHER 6OLI0 OR EMPTY VOID SPACE.B. REGULAR FORMS REPER Jo THOSE PART RELATED To ONE ANOTHERIN A CONSISTENT AND ORDERLY MANNER. THEY ARE GENERALLY STABLE IV NATURE AND SYMMETRICAL ABOUT ONE OR MORE AMES, THE SPHERE, Cy~ HINDER, CONE, CUBE, AND PYRAMID ARE PRIME EXAMPLES OF REGULAR FORMS: OA LI C. IRREGULAR FORMS “EY ARE. HHOCE PARTS ARE DISIMILAR IN NATURE AND RELATED TO ONE ANOTHER IN AN INCONSISTENT MANNER: THEY GENERALLY ASSYMETRICAL AND MORE DYNAMIC THAN REGULAR FoRMS, THEY CAN, BE REGULAR FORMS FROM MICH IRREGULAR ELEMENTS HAVE BEEN SUBTRACTED. C x(n D. TRANSFORMATION OF FORMS ALLOWER Forts CaN BE UNDERSTOOD To BE TRANSFORMATION OF THE PRIMARY SOLIDS, VARIATIONS WH ARE GENERUTED By THE MANIPULATION OF ONE OR MORE DIMENSIONS, OR BYTHE ADDITON OR SUBTRACTION OF THE ELEMENTS 1. DIMENSIONAL TRANSFORMATIONS -.« roms ioerrry as 4 Heber OFA Fatty OF FORMS CAN! BE PRESERVED EVEN AFTER CHANGING ONE OR MORE OF IT'S DIMENSiosL [A CUBE FoR INSTANCE, CAN BE CHANGED INTO COMPARABLE PRISMATIC SHAPES.BY MAKING DISCRETE HEWGHT, WIBTH, OR LENGTH MODIFICATIONS, 2. SUBTRACTIVE TRANSFORMATION BY THING AWAY GONE OF ITS VOLUME, A FORM CAN BE CHANGED. THE DEGREE OF THE SUB- RACTIVE PROCESS DETERMINES WHETHER THE FORM RETAINS ITS FORM OR NOT. FOR EX AMPLE 4 CUBE CAN CONTINUE 10 BE A CUBE EVEN APTER A PART OF IT IS REMOVED, OR CAN BE CHANGED IND A STRING OF REGULAR POLY HEDRONS (HAT STARTS TO RESEMELE A SPHERE.3.ADDITIVE TRANSFORMATION. rors cay 2¢ maveronves oy “THE ADDITION OF ELEMENTS 7o fs VOLUME..THE NATURE OF ADDITIVE PROCESS ANDTHE NUMBER AND RELATIVE SIZES OF THE ELEMENTS BEING ATTACHED DETERMINED WHETHER THE FORM 1S ALTERED OR RETANED. E. BASIC POSSIBILITIES FOR TWO FORM TO GROUP TOGETHER 1. SPATIAL TENSION -1ee oF reusnonsur TWAT RELIES ON THE CLOSE PRORMITY OFTHE FORMS OR THER SHARING OF A COMMON VISUAL "IRAIT, SHAPE, COLOR, BTC-= 2. EDGE TO EDGE CONTACT. n:usxno or Reurionsn, rows SHARES A COMMON EDGE AND CAN PIVOT ABOUT THAT EDGE. =e 3. FACE TO FACE CONTACT THIS TYPE OF RELATIONSHIP REQUIRES THAT THE THo FORMS HAVE CORRESPONDING PLANAR SURFACES WHICH ARE PARALLEL To EACH CHER: OY be4. INTERLOCKING VOLUMES - iy nasty oF RELATIONSHIP, THe ‘TWO FORMS INTERPENETRATE EACH OTHERS SPACE. THE FORMS NEED NOT SHARE VISUAL. COs] F. ARTICULATION OF FORMS “THE MANNER IN WHICH THE SURFACES OF & FORM COME TOGETHER TO DEINE SHAPE AND VOLUME, AN ARTICULATED FORM REVEALS THE PRECISE NATURE OF IS PARTS AND THEIR. RELATIONSHIPS "P EACH THER AND OTHE WHOLE. MS SURFICE APPEAR AS DISCRETE. PLANES WITH DISTINCT SHAPES AND THEIR OVERALL CONFIGURATION & LEGIBLE AND EASILY PERCEIVED. 1 CENTRALIZED FORMS- requires visa DOMINANCE OF A GEOMETRICALLY REGULAR, CENTER LOCA TED FORM, SUCH As SPHERE, CONE, oR CYLINDER. BECAUSE OF THEIR INERT CENTRALIY, THESE FORMS GHARE THE SELF CENTERING PROPERTIES OF POINT ANID CIRCLE 2 LINEAR FORMS-« series or rans excep IN 4 ROW: THIS CAN RESULT FROM A PROPORTIONAL CHANGE IN A FORMS PIMENGIONC OF A SERIES OF DISCRETE Forts A LINE 3- RADIAL FORMS - 4 comosinon oF unieat roms EXTENDING OUTMARD FROM 4 CERTRAL. FORH INA RADIAL MANNER: A neon ene ae Ld onrsencioeteneapeyyr arora Mie 4.CLUSTERED FORMS. 1 rons acorona wo PUnENOWA RQUREMEIE OF EE, SUPER Poa: LE eo Tues torn seevuty uo worowreo cine |G) oe churmaines Poms. is FLENBLE ENOVa 2 REPRE e Poets oe vomovt Sure COeE, pnb ONENTATEN TE a eee, @ 5. GRID FORMS - 2 ca svsten cr moor mone INTERSECTING SETS OF REGULARLY SPICED PARALLEL LINES, TT GENERATES A GEOMETRIC PATTERN OF REGULARLY SPACED [Poncis AT THE IKTERCECTIONS OF THE GRID LINES AND REG" ULARLY SHAPED FIELDS DEPINED RYTHE GRID LINE THEM seLves,G. ARCHITECTURAL FORM ITs THE RELATONSHE BETHEEN }UES AND SPACE. ARCHITEGTURAL. FORM, TEXTURES, MATE RIALS, AMD SPACE MODULATION OF COLOR, LIGHT, AND GHAPE ALL MOK TOSETHER 70 Gi VE SPACE A PIMENEION OR PERSONALITY. THE ABILITY OF THE DESIGNER To USE AND RE- LATE THE ASPECTE EOTHIN INTERIOR AND EXTERIOR OF THE BUILDING WILL DETARMINE THE QUALITY OF THE AReHITECTURE. G1. HORIZONTAL ELEMENTS 1.1) BASE PLANE ruse vane rs aro RE ON A CONTRASTING BACKGROUND DEFINES A SIMPLE Fl ELD OF SPACE. THIS CAN VIRTUALLY REINFORCED IN POLL: OWING Mans: FOR THISTO BE SEEN As & FIGURE, THERE Mr UST GE A PERCEPTIRLE ChANGe IN COLOR, TONE OR TEXURE: 12) ELEVATED BASE PLANE-eievse> {ABOVE THE GROUND PLANE ESTABLISHES VERTICAL SURTA™ CAS ALONG M8 EEGEE THs) REINFORCE THE VICUALSEPA~ RATION BETWEEN Ms PIELD AND SURROUNDING GROUND. ELEVATING A PORTION OF WE BASE CRESTS A SPECIE B= MAIN, BETHEEN A WITH WARE GAATAL CONTEXT. 1.3)DEPRESSED BASE PLANE 1 PLANE DEPRESSED ITO THE GROUND PLANE UTLIRES “HE VERTICAL SORPACES OF THE LOMERED AREA To OERIME A VOL UME OF SPACE. LOWERING A PORTION OF THE BASE PLANE ISOLATES A FELD OF SPACE FROM A LARGIER CONTENT. THE VERTICAL GIRFACES OF THs DEPREESION ESTABLISHES POUNDARIES OF THE FIELD 1.4.)OVERHEAD PLANE -sewar toe MANNER IN Wich A SHADE TREE OFFERS A SENSE OF ENCLO- SURE BENEATH IN ITS UMBRELLA STRUCTURE, Ant OVERHEAD PLasts DEFINES A FIELD OF SPACE PETHEEN SELF AD THE GROUND PLANE: SiN THE EDGES OF THE OVERHEAD PANE PSTABLSHES THE BLUNDARIES OF IIE FIELD, SHAPE AND SIZE, AND HEIGHT ABOVE THE GIREUNP PLANE. PETBIONES TE FORMAR QUALITIES OF THE SPACE6.2. VERTICAL ELEMENTS “ESE FORDE HAVE & GREATER. PRESENCE MOU VISUA FIELD Hatt HORIZON PLANES A4O ARE THE THE” \RSFORE MORE INSTROMENTAL I! DEFINING A DISCRETE VOLUME OF SPICE AND PRIVIDING SENSE OF CLOSURE AND PRVSCY FoR THOSE WiTHIN IT: THEY SERVE SEPARATE ONE SPACE FROM ANATHER AND ESTABLISH A COMMON BOUNDARY BETIIEEN INTERIGR AND EXTEROR: BLEMENTS 2.1)SINGLE VERTICAL PLANE ir STANDING ALONE IN SPACE, HAs VISDAL. QUA LIMES UNKQUELY FRM THOSE OF A FREESTANDING 4 COLUMN. & ROUND COLUMN HS NO PREFERRED DIRECTION EXCEPT FOR (IC VERTICAL AKIS. A SQUARE COLUMN HAS TWO EQUIVALENT SETS OF FACES AND THEREFORE Tod IDENTICAL AXES ~ 2.2) L-SHAPED PLANE- caren ‘ATION OF VERTICAL PLANES DEFINES A FIELD CF SPACE ALONG A DIAGONAL FORM T'S CORNER OUTWARD HILE THis SSSTRENELY DEFINED AND ENCLOSED ATE CORNER OF THE CONFIGURATION, (7 DICCIPETES Ry PIDLY Ag f1 MOVES AWWA FROM THE CORNER: = B| = 2.3) PARALLEL PLANE- suzor m- RAUL VARICA PLANES DEFINEA PELD oF sic OF Th HEM THR GPR PALDE CF END, EETHBLCH Be TeveRCA, EEE OFS RANE, OWEFTHE SPACE 2 cen DRECTONAL QUALITY 6 PRIMARY BRE ASIN ALENT ARE ARGS HEH HE PLANE [6 SwateTRlas: BMERWE PARALLEL PLANES PO Nor PRET To FOR CORNERS AO FOLLY BNCLOIED Tet FELD, TH SPH08 Is ExROVERTEP NATURE: 2.4) FOUR PLANES: CLOSURE FOUR VERA, RIES LEOUPASEINE & FLD OF SCE fe PROBABLY THE MALT TYPICAL PND CBR” “Ty WE STRONGEET NPE OF SPATAL. DEFIN: THON IN ARCHITECTURE, SINCE ME FILDIS Coe PLETELY ENCLOCED, 1 SPACE IS NATURALLY ne TROVERTED. 6 ACHIEVE VAL DOFINANCE He TOA SPACE CR BECOME (5 PRIMARY FACE,OXE OF TE ENELORE anice ent BE DIFFEREN TEED Frew THE OTHERS By Nt SE, FoR, SORPACE ARTICULATION, OR BY THE NATURE OF THE OPEN NING WITH ITH. SHAPING INTERIOR SPACES: FLOORS, WALLS, AND CEILING PLANE AN IMPORTANT ViGUAL. ROLE IN. SHAPING INTERIOR SPACES AND LUMINES VERTICAL DIMENSION. IT S THE SHELTERING ELEMENT IN INTERIOR DES ety OFFEFUNe OTH PHYSICAL AND PSYCHOLOGICAL PROTECTION FOR THOSE RENEAAH [IF canary. INTERIOR SPACES COULD BE DEFINED WITH NON-LOAD BEARING PARTITIONS AND THBIR (AY-OUT- COULD RESPOND FREELY “D PROGRAMMATIC REQUIREMENTS: H.1) LINEAR FORMS TRADITIONALLY, LINEAR FORMS HAVE BEEN UT LIZED To PROVIDE, SUPPORT, VERTICALLY, SPAN AND EXPRECS MOVEMENT AccROGS AS WELL. To SPECIFY THE BOUNDARIES OF SPATIAL VOLr UMES. WHEN IT COMES TO ARCHITECTURE, ICTEROR PECGN, AND FURNITURE, LINEAR ELEMENTS PLAYS A ROLE. Hz.) PLANAR FORMS IISA FUNDAMENTAL I ARCHITECTURE ANP INTE> RIOR DESIGN. FLOOR, WALL. AND CEILING LANE SERCES ALA ENCLOSE ako DEFINE THREE- Dit ENCIONAL VoLUIMEC OF SPACEE. THEIR. SPECIFIC. VIGUAL CHARACTERIETIES AND HE, RELATIONSHIP ( SPACE CETBRMINE (WE FORM AND CHARACTER OF THE SPACE THEY DEFINE: WITHIN THESE CPACEG, FURNIEHINGS AND OTHER INTERIOR DESIGN ELEMENTS CAN DO ALSO BE SEEN AGP CONSICT PLANAR FORMS REFERENCE / SOURCE: © INTERIOR DESIGN ~ THIRD EDITION » FRANCIS D.K. CHING © ARCHITECTURE: FORM, SPACE AND ORDER = FOURTH EDITION FRANCIS DK CHING