By looking at these seminal ideas, Architecture: Form, Space, and Order encourages the reader to look critically at the built environment and. Francis D. K. Ching Architecture Form, Space, and Order Wiley () (1) Data: Ching, Frank, Architecture: form, space, & order / Francis D.K. Ching. Library of Congress Cataloging-in-Publication Data: Ching, Frank, Architecture-form, space, & order / Francis D.K. Ching. – 3rd ed. p. cm. Includes.
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Architecture: Form, Space, & Order, 4th Edition
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Closure Primary Shapes 38 Four Planes: Form and space are the critical means of architecture comprising a design vocabulary that is both elemental and timeless. The second edition continued to be a comprehensive primer on the ways form and space are interrelated and organized in the shaping of our environment, and was refined by editing the text and incorporating diagrams for greater clarity, adding selected examples of architectural works, expanding the sections on openings, stairways, and scale, and finally, by including a glossary and an index to designers.
The third edition persisted in illustrating the ways the fundamental elements and principles of architectural design manifest themselves over the course of human history but added an electronic component to introduce the aspects of time and movement to the exposition of elements and principles. In this fourth edition, major changes consist of the addition of more than two dozen contemporary examples, selected to illustrate the new forms that go beyond the timeless elements of basic statics—the columns, beams, and load-bearing walls of stable constructions that are fixed in time and space.
Francis D. K. Ching, Architecture Form, Space And Order 3rd Edition
Five more modules have also been added to the electronic component to animate certain design decisions regarding scale and proportion, the type of visual, often subtle judgements that designers face in the development of a project. The historical models in this book span time and cross cultural boundaries. While the juxtaposition of styles may appear to be abrupt at times, the diverse range of examples is deliberate.
The collage is intended to persuade the reader to look for likenesses among seemingly unlike constructions and bring into sharper focus the critical distinctions that reflect the time and place of their making. Readers are encouraged to take fofm of additional examples encountered or recalled within the context chingg their ordsr experiences. As the design elements and principles become more familiar, new connections, relationships, spae levels of meaning may be established.
The illustrated examples are neither exhaustive nor necessarily the prototypes for the concepts and principles discussed. Their selection merely serves to illuminate and clarify the formal and spatial ideas being irder.
These seminal ideas transcend their historical context and encourage speculation: How might they be analyzed, perceived, and experienced? How might they be transformed into coherent, useful, and meaningful structures of space and enclosure?
How might they be reapplied to a range of architectural problems? This manner of presentation attempts to promote a more evocative understanding of the architecture one experiences, the architecture one encounters in literature, and the architecture one imagines while designing. Forrest Wilson, whose insights into the communication of design principles helped clarify the organization of the material, and whose support made its initial publication possible; James Tice, whose knowledge and understanding of architectural history and theory strengthened the development of this study; F.k.architecture Crowe, whose diligence and skill in the teaching of architecture encouraged me to pursue this work; Roger Sherwood, whose research into the organizational principles of form fostered the development of the chapter on ordering principles; Daniel Friedman, for his enthusiasm and careful editing of the final d.k.architecture Diane Turner and Philip Hamp, for their assistance in researching material for the illustrations; and francjs the editorial and ffank staff at Van Nostrand Reinhold, for their exceptional support and service during the making of the first edition.
For the second edition, my appreciation extends to the many students and their teachers who have used this book over the years and offered suggestions for its improvement as a reference and tool for study and teaching. I want to especially thank the following educators for their careful critique of the first edition: Rudolph Barton, Laurence A.
Steinfeld, Cheryl Wagner, James M. Wehler, and Robert L. In preparing the third edition, I am grateful to Michele Chiuini, Ahmeen Farooq, and Dexter Hulse for their thoughtful reviews of the second edition. While I attempted to incorporate much of their wise xpace, I remain solely responsible for any deficiencies remaining in the text. Ralph Hammann provided valuable insights and suggestions for this fourth edition. To Debra, Emily, and Andrew, whose love of life it is ultimately the role of architecture to nourish.
These conditions may be purely functional in nature, or they may also reflect in varying degrees the social, political, and economic climate.
In any case, it is assumed that the existing set of conditions—the problem—is less than satisfactory and that a new set of conditions—a solution—would be desirable.
The act of creating architecture, then, is a d.k.archltecture or design frabk. The initial phase of any design process is the recognition of a problematic condition and the decision to find a solution to it. Design is above all a willful act, a purposeful endeavor.
A designer must first document the existing conditions of a problem, define its context, and collect relevant data to be assimilated and analyzed.
This is the critical phase of the design process since the nature of a solution is d.k.archktecture related to how a problem is perceived, defined, and articulated.
Piet Hein, the noted Danish poet and scientist, puts it this way: The shaping of the question is part of the answer. This francks focuses, therefore, on broadening and enriching a vocabulary of design through the study of its essential elements and principles v.k.architecture the exploration of a wide array of solutions to architectural problems developed over the course of human history.
As an art, architecture is more than satisfying the purely functional requirements of a building program. Fundamentally, the physical manifestations of architecture accommodate human activity. However, the arrangement and ordering of forms and spaces also determine how architecture might promote endeavors, 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 d.k.architecturr before essays, novels, and the like can be written. Once these elements ftancis understood, one can write poignantly or with force, call for peace or incite to riot, comment on trivia or speak with insight and meaning.
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. All to form an integrated whole having a unifying or coherent structure. Some may be readily Architectural order is created when the organization of parts makes visible apparent while others are more obscure to our intellect and senses.
Some may their relationships to each other and the structure as a whole. Some relationships are perceived as mutually reinforcing and contributing to the d.k.architecturre convey images and meaning while others serve as qualifiers or modifiers of singular nature of the whole, then a conceptual order exists—an order that these messages. Villa Savoye, Poissy, east of Paris, —31, Le Corbusier This graphic analysis illustrates the way architecture embodies the harmonious integration of interacting and interrelated parts into a complex and unified whole.
Its inside order accommodates the multiple functions of a house, domestic scale, and partial mystery inherent in a sense of privacy. Its outside order expresses the unity of the idea of house at an easy scale appropriate to the green field it dominated and possibly to the city it will one day be part of. If the line shifts to form a plane, we obtain a two-dimensional element. In the movement from plane to spaces, the clash of planes gives rise to body three-dimensional.
A summary of the kinetic energies framcis move the point into a line, the line into a plane, and the plane into spacw spatial dimension. Each element is first considered as a conceptual element, then as a visual element in the vocabulary of architectural design. While they do not actually exist, we nevertheless feel their presence. We can sense a point at the meeting of two lines, a line marking the contour of a plane, a plane enclosing a volume, and the volume of an object that occupies space.
When made visible to the eye on paper or in three-dimensional space, these elements become form with characteristics of substance, shape, size, color, and texture. As we experience these forms in our environment, we should be able to perceive in their structure the existence of the primary elements of franfis, line, plane, and volume.
Point A point extended becomes a Line with properties of: Conceptually, it has no length, width, or depth, and is therefore static, centralized, and directionless. As the prime element in the vocabulary of form, a point can serve to mark: At the center of its environment, a point is stable and at rest, organizing surrounding elements about itself and dominating its field.
When the point is moved off-center, however, its field becomes more aggressive and begins to compete for visual supremacy. Visual tension is created between the point and its field. To visibly mark a position in space or on the ground plane, a point must be projected vertically into a linear form, as a column, obelisk, or tower. Any such columnar element is seen in plan as a point and therefore retains the visual characteristics of a point. Other point-generated forms that share these same visual attributes are the: Piazza del Campidoglio, Rome, c.
The equestrian statue of Marcus Aurelius marks the center of this urban space. Michel, France, 13th century and later.
Architecture : Form, Space, and Order by Francis D. K. Ching (2014, Paperback / Online Resource)
The pyramidal composition culminates in a spire that serves to establish this fortified monastery as a specific place in the landscape. Although the points give this line finite length, the line can also be considered a segment of an infinitely longer path. Two points further suggest an axis perpendicular to the line they describe and about which they are symmetrical. Because this axis may be infinite in length, it can be at times more dominant than the described line.
In both cases, however, the described line and the perpendicular axis are optically more dominant than the infinite number of lines that may pass through each of the individual points. Extended vertically, the two points define both a plane of entry and an approach perpendicular to it.