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Architecture Form, Space, and Order von Ching, Francis D. K. (eBook)

  • Erscheinungsdatum: 13.10.2014
  • Verlag: Wiley
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The revered architectural reference, updated with contemporary examples and interactive 3D models An access card with redemption code for the online Interactive Resource Center is included with all new, print copies or can be purchased separately. The Interactive Resource Center includes an expanded library of images that provide ample visual confirmation of the interplay between theory and practice, and readers are encouraged throughout the book to look critically at the built environment to promote a more evocative understanding of architecture. By encouraging critical thought, simplifying timeless design principles, and providing flawless visual reference, Architecture has become a classic resource for both students and professionals. The online Interactive Resource Center , also contains animations, flashcards, and other learning resources tied to the book. Architecture: Form, Space, and Order, Fourth Edition is the classic introduction to the basic vocabulary of architectural design, updated with new information on emerging trends and recent developments. This bestselling visual reference helps both students and professionals understand the vocabulary of architectural design by examining how space and form are ordered in the environment. Essential and timeless, the fundamental elements of space and form still present a challenge to those who crave a deeper understanding. Taking a critical look at the evolution of spaces, Architecture distills complex concepts of design into a clear focus that inspires, bringing difficult abstractions to life. The book is illustrated throughout to demonstrate the concepts presented, and show the relationships between fundamental elements of architecture through the ages and across cultures. Topics include: Primary elements and the principles of space design Form and space, including light, view, openings, and enclosures Organization of space, and the elements and relationships of circulation Proportion and scale, including proportioning systems and anthropometry


    Format: ePUB
    Kopierschutz: AdobeDRM
    Seitenzahl: 464
    Erscheinungsdatum: 13.10.2014
    Sprache: Englisch
    ISBN: 9781118745137
    Verlag: Wiley
    Größe: 441495 kBytes
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Chapter 1

Primary Elements

"All pictorial form begins with the point that sets itself in motion... The point moves ... and the line comes into being-the first dimension. 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 which move the point into a line, the line into a plane, and the plane into a spatial dimension."

Paul Klee
The Thinking Eye: The Notebooks of Paul Klee
(English translation)

This opening chapter presents the primary elements of form in the order of their growth from the point to a one-dimensional line, from the line to a two-dimensional plane, and from the plane to a three-dimensional volume. Each element is first considered as a conceptual element, then as a visual element in the vocabulary of architectural design.

As conceptual elements, the point, line, plane, and volume are not visible except to the mind's eye. 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 point, line, plane, and volume.

As the prime generator of form, the

A point marks a position in space. 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:

the two ends of a line
the intersection of two lines
the meeting of lines at the corner of a plane or volume
the center of a field
Although a point theoretically has neither shape nor form, it begins to make its presence felt when placed within a visual field. 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.

Piazza del Campidoglio , Rome, c. 1544, Michelangelo Buonarroti.
The equestrian statue of Marcus Aurelius marks the center of this urban space.

A point has no dimension. 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:

Mont St. Michel , France, 13th century and later.
The pyramidal composition culminates in a spire that serves to establish this fortified monastery as a specific place in the landscape.

Two points describe a line that connects them. 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 m

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