ADPM 4 - Abstraction Applied to Architecture (Form).ppt
- 1. ARCHITECTURAL DESIGN PROCESSES & METHODOLOGIES Theory of Architecture 2 Ar. Fernando C. Pamintuan
- 2. ABSTRACTION APPLIED TO ARCHITECTURAL DESIGN Architectural Design Processes & Methodologies
- 3. Abstraction Applied To Architectural Design
- 4. The third set of variables, Form, is under the control of the designer. In this area he can help the client make decisions after the Need and Context variables have been identified. But remember that the solution to the design problem is basically and agreement between Need, Context and Form. In a sense, all three sets of variables are flexible until a fit is achieved.
- 5. Some designers expect the client’s program and the context alone to dictate the solution, but form is equally important because there are a number of viable forms that meet specific needs. The architect must be as familiar with form variables as with those of need or context. The abstract sketches that follow are used to build a visual memory of form variables.
- 6. Some designers expect the client’s program and the context alone to dictate the solution, but form is equally important because there are a number of viable forms that meet specific needs. The architect must be as familiar with form variables as with those of need or context. The abstract sketches that follow are used to build a visual memory of form variables.
- 7. Some designers expect the client’s program and the context alone to dictate the solution, but form is equally important because there are a number of viable forms that meet specific needs. The architect must be as familiar with form variables as with those of need or context. The abstract sketches that follow are used to build a visual memory of form variables.
- 8. Some designers expect the client’s program and the context alone to dictate the solution, but form is equally important because there are a number of viable forms that meet specific needs. The architect must be as familiar with form variables as with those of need or context. The abstract sketches that follow are used to build a visual memory of form variables.
- 9. Some designers expect the client’s program and the context alone to dictate the solution, but form is equally important because there are a number of viable forms that meet specific needs. The architect must be as familiar with form variables as with those of need or context. The abstract sketches that follow are used to build a visual memory of form variables.
- 10. Form
- 11. Variations of the spatial organization of a house are numerous. A few examples are shown here in plan diagrams using a similar drawing style to facilitate an easy comparison. The walls are drawn with heavy lines so the diagrams can emphasize space by clearly defining solid and void.
- 12. Furthermore, titles are given to each organizational types as an important aid for easy recall. A range of organizational types show three- dimensional options for spatial order and the implications for appearance. Structure and materials are also considered.
- 13. Form
- 14. Although the qualities of form can be enjoyed by everyone, architects do not automatically perceive how the form variables are arranged to achieve a specific effect. In addition to their formal education, most architects spend a lifetime learning about them.
- 15. One effective way of increasing perception is through visual analysis. The emphasis of a specific variable such as scale or rhythm in a sketch can be abstracted out of the context of the building. Scale implies a relationship of sizes.
- 16. The size of people is the most handy reference for other sizes; this is called human scale. Though it is obvious that all structures cannot be within our scale, we can feel more comfortable with a large building if certain or its features range in size from human scale to the overall building. Through graphic analysis, we can begin to understand how scale is handled in different buildings.
- 17. The effect of proportions on the design of a building can be represented for analysis in a similar way. Proportion is the relationship between dimensions (horizontal-vertical) Through abstraction, the impact of proportions on existing building can be better understood.
- 18. Form
- 19. Anyone who has taken up jogging is well aware of the importance of mass and balance in human experience. We all have a built-in sense of these qualities, causing us to respond to them in buildings. Further, mass and balance are associated with many other feelings such as security and flexibility.
- 20. In a building, a sense of mass can convey security or permanence; a sense of airiness can convey flexibility of freedom. Throughout architectural history, many methods have been discovered for varying the apparent mass of buildings. By analyzing buildings that have clear sensations of mass, the use of such formal devices as horizontality, verticality, and emphasis can be uncovered.
- 21. Walking is a tremendous feat of balance. Much of the enjoyment of walking, riding a bike, skiing, and the like is derived from the tension between stability and instability. We have a finely tuned sense of balance that carries over into our visual perception. The different ways of articulating balance in building design can be also highlighted through abstract sketches.
- 22. Form
- 23. One way of achieving unity in a building is through repetition of parts that are alike, such as windows or columns. Similarity of objects, even if only partial similarity, is a way of emphasizing association. Members of the human race are recognized by a number of similar features in spite of the great diversity in appearance of individuals.
- 24. The importance of rhythm in architecture is based upon its relationship to the human rhythms: walking or breathing, the natural rhythms: the tide or the seasons. Just as music presents audio rhythms, architecture displays visual rhythms. In architecture the principle means of achieving rhythm is spacing of parts; this is comparable to the intervals between beats or notes.
- 25. The character of visual rhythms in a building depends on the size of both the intervals and the parts. Two basic types of rhythm can be identified. Staccato rhythm is formed by clear distinction between intervals and parts, such as mullions on a curtain wall.
- 26. Legato rhythm is softer, formed by more subtle transitions between intervals and parts, as in the curvilinear architecture of Gaudi. There are also rhythms distinguishable by patterns of interval of part sizes, as in a façade by Palladio. And there are accelerating or decelerating rhythms, as in the Wolfsberg Center by Aalto.
- 27. Form
- 28. The degree of unity or diversity expressed in a building constitutes another class of form variables. The other variables (scale, proportion, mass, balance, repetition, or rhythm) can be used to achieve unity or diversity. Some of the ways of increasing unity include: Framing or emphasizing a border, continuous pattern, modular grid, use of a single shape which is at the scale as the building, independence between the parts and the whole.
- 29. Diversity can be achieved by planned violation of the rules of unity: avoiding framing or consistent pattern, variation of rhythms or modules, multiple grids, breaking-up dominating Geometry. Unity and diversity are not mutually exclusive; it is possible to overlay them and thereby increase the intensity of both attributes.
- 30. Form
- 31. Conceptual strength and clarity often play an important role in the experience and use of a building. A sense of hierarchy can contribute much to the conceptual presence of architecture. Whether as analysis of existing buildings or as speculation about an emerging design, intentions can be highlighted by the use of abstract sketches.
- 32. The sketches present three approaches to hierarchy: Dominant Size, Central Location, and Unique Shape. As reflected in the second and third examples, approaches to hierarchy are often combined to achieve greater impact.