FUE - Future University in Egypt

Faculty of Engineering and Technology

Department of Architectural Engineering

ARC 222: History & Theories of Architecture (2)

Academic year/Level: 2nd / 3rd Semester
Fall 2020
Credit Hours: 2 Cr. Hrs.

Course Instructor: Assistant Professor Dr. Dina Khater

Course Assistants: TA Arch. Basma Mohamed
TA Arch. Nouran Ashraf
WEEK 3 Topics
THEORY OF DESIGN

1. Elements of Form Defining Space

2. Primary Elements: Point – Line – From Line to Plan – Planar Elements – Volumetric
Elements
3. Form Primary Shapes: Primary Solids – Regular & Irregular forms
4. Form and Space
5. The Transformation of Form & Nature
6. The Transformation of Form / Modifiers & Digital Modifiers
7. Articulation of Form

FORM !
Elements of Form Defining Space
Horizontal Plane
Base Plane
▪ Plane shall be seen as figure must be change in color, tone,
or texture
▪ The stronger the edge, the more distinct will be its field
▪ The horizontal plane creates a spatial zone or realm within
its boundaries
▪ Seems to be figured out when there is a perceptible change Palace of Versailles, Paris
in colour, texture.
▪ With edge definition.
▪ With surface articulation ex, lawn, carpet, paving, etc.
Elevated Base Plane
▪ Elevating creates a specific domain
▪ If surface characteristics continue up across the elevated
plane, then the elevated one will appear part of surrounding
plane.
▪ If edge conditions are articulated by a change in form,
colour, texture, then the field will become a distinct plateau
that is separated from surroundings.
▪ Can be constructed on the existing site condition / artificially
constructed above the surrounding context. Acropolis of Athens, Greece
▪ Venerate Sacred and honorific Building.
Elements of Form Defining Space

Horizontal Plane
Depressed Plane
▪ Shallow interruption remain an integral part interaction and
surrounding environment connectivity
▪ Vertical surface of depression establishes boundaries.
▪ It remains an integral part.
▪ The space is distinct and used for separation.

Wolfsburg Cultural Center, by AlvarAalto, at Wolfsburg,

Germany, 1958 to 1962
Elements of Form Defining Space

Horizontal Plane
Overhead Plane
▪ Defines field of volume and overall form
▪ It is similar to the trees as gives the sense of enclosure.
▪ Defines a filed space between itself and ground plane.
▪ Edges define the boundary of the field.
▪ Offers protection.
Elements of Form Defining Space

Horizontal Plane Vertical Plane

Roof Plane Vertical linear element interact spatial field to the urban space along
▪ Can be hidden from view by wall. its edge
▪ Can be single or many.
▪ Can extend outwards as overhang. ▪ It has frontal qualities.
▪ Can be elevated to allow breeze to pass through. ▪ They can differ in form, colour or texture to articulate different
spatial conditions.
Ceiling Plane ▪ Provides little or no sense of enclosure.
▪ Can reflect the form of structural system. ▪ It defines the edges of spatial fields.
▪ Can be detached from roof plane, suspended, ▪ Allows visual continuity.
underside of an overhead. ▪ Separates one space from another.
▪ Can be manipulated to define and articulate spaces. ▪ The height of the vertical plane relative to our body height and
▪ Form can be manipulated to control the quality of light eye level is the critical factor that effects the ability of the plane
or sound within a space. to visually describe spaces.
▪ Differentiate two fields
▪ Can be different in form, color, or texture to respond to different
spatial conditions
▪ To define a volume, the single vertical plane need to interact with
other elements/forms
▪ Height of a vertical plane defines different sense of enclosure
▪ Opening of a vertical plane could lead to define a specific
orientation.
Elements of Form Defining Space

Vertical Plane
L-Shaped Plane
Generates a volume of space from its centre
outward as a diagonal.
Parallel Plane
Defines the volume of space in between that is oriented
axially towards open end.

U-Shaped Plane
Defines the volume that is primarily oriented towards the
open end.

Plane Enclosure
Vertical plane on all sides establish boundaries of an
introverted and influence the field of space around
enclosure.
Elements of Form Defining Space

Vertical Plane
L-Shaped Plane
Generates a volume of space from its centre outward as a
diagonal.

Parallel Plane
Defines the volume of space in between that is
oriented axially towards open end.
U-Shaped Plane
Defines the volume that is primarily oriented towards the
open end.

Plane Enclosure
Vertical plane on all sides establish boundaries of an
introverted and influence the field of space around
enclosure.
Elements of Form Defining Space

Vertical Plane
L-Shaped Plane
Generates a volume of space from its centre outward as a
diagonal.

Parallel Plane
Defines the volume of space in between that is oriented
axially towards open end.

U-Shaped Plane
Defines the volume that is primarily oriented
towards the open end.
Plane Enclosure
Vertical plane on all sides establish boundaries of an
introverted and influence the field of space around
enclosure.
Elements of Form Defining Space

Vertical Plane
L-Shaped Plane
Generates a volume of space from its centre outward as a
diagonal.

Parallel Plane
Defines the volume of space in between that is oriented
axially towards open end.

U-Shaped Plane
Defines the volume that is primarily oriented towards the
open end.

Plane Enclosure
Vertical plane on all sides establish boundaries
of an introverted and influence the field of
space around enclosure.
Primary Elements
Primary Elements
Primary Elements
Primary Shapes
Form Primary Shapes
Form & Space
Visual Properties of Form

1. Shape: Primary means to recognize & identify the

form. (Shape refers to the characteristic outline of a
plane figure or the surface configuration of a
volumetric form)

2. Size: Its scale is determined by its size relative to

other forms in its context. It is real dimension
(length-width-depth)

3. Color: is the attribute that most clearly distinguishes

a form from its environment. affects visual weight

4. Texture (surface): affects tactile & light-reflective

Form & Space
Visual Properties of Form

1. Shape: Primary means to recognize & identify the

form. (Shape refers to the characteristic outline of a
plane figure or the surface configuration of a
volumetric form)

2. Size: Its scale is determined by its size relative to

other forms in its context. It is real dimension
(length-width-depth)

3. Color: is the attribute that most clearly distinguishes

a form from its environment. affects visual weight

4. Texture (surface): affects tactile & light-reflective

Form & Space
Visual Properties of Form

1. Shape: Primary means to recognize & identify the

form. (Shape refers to the characteristic outline of a
plane figure or the surface configuration of a
volumetric form)

2. Size: Its scale is determined by its size relative to

other forms in its context. It is real dimension
(length-width-depth)

3. Color: is the attribute that most clearly distinguishes

a form from its environment. affects visual weight

4. Texture (surface): affects tactile & light-reflective

Form & Space
Visual Properties of Form

5- Position: location relative to visual field; between,

above

6- Orientation: position relative to ground plane,

compass points, person viewing it; north

7- Visual Inertia: degree of stability (depends on

geometry & orientation to ground)

Visual Properties are affected by:

A- angle of view
B- distance from the form
C- lighting conditions
D- visual field surrounding the form influence our
ability to read and identify it; a tree in front of a
building.
Form & Space
Visual Properties of Form

5- Position: location relative to visual field; between,

above

6- Orientation: position relative to ground plane,

compass points, person viewing it; north

7- Visual Inertia: degree of stability (depends on

geometry & orientation to ground)

Visual Properties are affected by:

A- angle of view
B- distance from the form
C- lighting conditions
D- visual field surrounding the form influence our
ability to read and identify it; a tree in front of a
building.
Form & Space
Visual Properties of Form

5- Position: location relative to visual field; between,

above

6- Orientation: position relative to ground plane,

compass points, person viewing it; north

7- Visual Inertia: degree of stability (depends on

geometry & orientation to ground)

Visual Properties are affected by:

A- angle of view
B- distance from the form
C- lighting conditions
D- visual field surrounding the form influence our
ability to read and identify it; a tree in front of a
building.

Primary Solids
The Transformation of Form & Nature
The Transformation of Form & Nature
The Transformation of Form & Nature
The Transformation of Form & Nature
The Transformation of Form & Nature
The Transformation of Form & Nature
The Transformation of Form & Nature
The Transformation of Form & Nature
The Transformation of Form / Modifiers & Digital Modifiers

Dimensional Transformation:
▪ Altering one or more dimension
▪ Retain family identity

Subtractive Transformation:
▪ Subtracting portion of its volume
▪ Retain initial identity OR transformed into
another family (depend on the extent of
subtraction)

Additive Transformation:
▪ Adding elements to its volume - Identity of initial
forms is retained OR altered (depending on
nature of addition process)
The Transformation of Form / Modifiers & Digital Modifiers
The Transformation of Form / Modifiers & Digital Modifiers
The Transformation of Form / Modifiers & Digital Modifiers
The Transformation of Form / Modifiers & Digital Modifiers
Articulation of Form
Articulation, in art and architecture, is a method of styling the joints in
the formal elements of architectural design. Through degrees of
articulation, each part is united with the whole work by means of a joint.
In highly articulated works, each part is defined precisely and stands out
clearly. The articulation of a building reveals how the parts fit into the
whole by emphasizing each part separately.

1. Differentiating adjoining planes with a change in material, colour,

texture or pattern.
2. Developing corners as distinct linear elements independent of the
abutting planes.
3. Removing corners to physically separate neighbouring planes.
4. Lighting the form to create sharp contrasts in tonal value along House of Justice and Police Station / J. Mayer H. Architects
edges and corners.
Two projects designed by J. Mayer H. Architects were completed in April 2012.
Since the articulation of a form depends to a great degree on how its Both are situated in Mestia, a small town in northwest Georgia. This medieval
surfaces meet each other at corners, how these edge conditions are town, with its stone defensive towers, is part of UNESCO’s list of World, and as
resolved is critical to the definition and clarity of a form. such, demanded close attention to the traditional urban narrative and
architectural articulation. Last year J. Mayer H. also completed an airport in the
same area.
 Articulation of Form

The House of Justice serves as a two storey civic centre for the people of Mestia,
a town with a strong cultural heritage. Its concrete structure frames the
spectacular landscape of the Caucasian Mountains. The building is part of an
ensemble of new public buildings around the main central public plaza.
The project for the Police Station is located in the heart of the old town, next to
the newly built city-hall. Its towerlike shape pays homage to the medieval stone
towers which are traditional to Mestia’s mountainside region. The facade is
comprised of prefabricated textured concrete and large openings which offer a
maximum of transparency.
Articulation of Form
Articulation of Form: Corner
Since the articulation of a form depends to a great degree on how its
surfaces meet each other at corners, how these edge conditions are
resolved is critical to the definition and clarity of a form.
1. For a corner to be formally active, there must be more than a
slight deviation in the angle between the adjoining planes. Since
we constantly search for regularity and continuity within our field
of vision, we tend to regularize or smooth out slight irregularities
in the forms we see. For example, a wall plane that is bent only
slightly will appear to be a single flat plane, perhaps with a
surface imperfection. A corner would not be perceived.
2. Corners define the meeting of two planes. If the two planes
simply touch and the corner remains unadorned, the presence of
the corner will depend on the visual treatment of the adjoining
surfaces.
3. A corner condition can be visually reinforced by introducing a
separate and distinct element that is independent of the surfaces
it joins. This element articulates the corner as a linear condition,
defines the edges of the adjoining planes, and becomes a
positive feature of the form.
4. While a corner can be articulated by simply contrasting the
surface qualities of the adjoining planes, or obscured by layering
their joining with an optical pattern, our perception of its
existence is also affected by the laws of perspective and the
quality of light that illuminates the form.
5. Rounding off the corner emphasizes the continuity of the
bounding surfaces of a form, the compactness of its volume and
softness of its contour. The scale of the radius of curvature is
important. If too small, it becomes visually insignificant; if too
large, it affects the interior space it encloses and the exterior
form it describes.
Articulation of Form: Corner
6. If neither plane is extended to define the corner, a volume of
space is created to replace the corner. This corner condition
deteriorates the volume of the form, allows the interior space to
leak outward and clearly reveals the surfaces as planes in space.
7. If an opening is introduced to one side of the corner, one of the
planes will appear to bypass the other. The opening diminishes
the corner condition, weakens the definition of the volume
within the form, and emphasizes the planar qualities of the
neighbouring surfaces..
TAHAROTO LANE
Taharoto Lane is a 19 Unit mixed-use terrace development that will look to
transform two sections (currently with one single dwelling on each) into an
architectural complex that will serve as an anchor to weave and connect the
greater urban fabric of Takapuna.
Size: 2000 m2 site with 19 units
Completion Date: 2022
Credits: Design & Project by Eric & His best mates
Articulation of Form: Surface
Our perception of the shape, size scale,
proportion and visual weight of a plane is
influenced by its surface properties as well as its
visual context.
1. A distinct contrast between the surface color of a
plane and that of the surrounding field can clarify
its shape, while modifying its tonal value can
either increase or decrease its visual weight.
2. A frontal view reveals the true shape of a plane.
Oblique views distort it.
3. Elements of known size within the visual context
of a plane can aid our perception of its size and
scale.
4. Texture and color together affect the visual weight
and scale of a plane and the degree to which it
absorbs or reflects light and sound.
5. Directional or oversized optical patterns can
distort the shape or exaggerate the proportions of
a plane.

Phenomenological articulation: The perceptual identification of functional units and their relations is
facilitated by the use of structural shells. Convex bodies, concave spaces and curvelinearity in general
is advantageous for the visual decomposition of a complex scene.
Zaha Hadid Architects, Qingdao Cultural Centre, China
Articulation of Form: Surface
The demarcation between architecture and engineering

Rests on the distinction of the built environment’s social

functioning from its technical functioning. While the technical
functioning considers the physical integrity, fabrication constraints, on
site constructability and physical performance of the building in relation
to its users understood as physical-biological bodies, architecture must
take into consideration that a building’s social function, i.e. its function as
ordering and guiding communicative frame, is functioning via its
appearance and legibility. The core competency of architecture is thus
the task of articulation. Legibility involves two aspects: the perceptual
palpability and the semantic-informational charge.
Articulation of Form: Surface
Accordingly the general task of articulation bifurcates into the two
specific tasks of phenomenological articulation and semiological
articulation.

Both aspects need to guide the designer’s decision making process in

the context of the proliferating options that emerge from the
engineering discourse. Semiological articulation presupposes a
successful phenomenological articulation. Phenomenological
articulation pursues the visual decomposition of the (increasingly
complex) urban scene by making the relevant functional units (units of
interaction) conspicuous. This concern with the visual decomposition
of a complex composition motivates us at Zaha Hadid Architects to
work with shell structures. The perceptual identification of functional
units and their interrelations is facilitated by the use of shells. The use
of convex and concave surfaces with various degrees of curvature gives
useful orienting information. The use of structural form-finding logics
disciplines the spatial morphologies in ways that are advantageous for
the task of articulation, i.e. the task of elaborating a systematic spatial
language. Semiological articulation can then map significant
programmatic distinctions onto conspicuous morphological
distinctions so that differences make a difference. Tectonic
articulation is here proposed as the concept for the strategic
articulatory utilization of the morphological differentiations that
emerge from engineering logics like structural engineering,
environmental engineering and façade engineering.