MANUEL, APRIL ROSE L.

AR11FA2

Form and space are complementary and inseparable aspects of architecture. The form of a building is
its physical substance: the materials and structures that make up the building and enclose or create the
spaces within it.

TYPES OF FORM
GEOMETRIC FORM

Geometric forms are forms that can be constructed

using geometry, such as squares, rectangles, circles, cones,
cubes, and so on. Geometric forms are commonly found in
architecture, structural and civil engineering.This is as opposed
to 'organic' forms which are generally complex, irregular or
asymmetrical, and cannot easily be constructed using
geometry. naturally-occurring forms are often considered to be
'organic'. Two-dimensional geometric forms are often defined
by a chain of points or vertices are connected by lines. These
are referred to as polygons (triangles, squares, pentagons,
hexagons, and so on). They can also be bounded by curves
(circles, ellipses, and so on).Three-dimensional geometric forms
are often defined by two-dimensional faces enclosed by lines
that connect a set of vertices. These are referred to as
polyhedrons (cubes, pyramids, cones, and so on).

ORGANIC FORM

Although the word “organic” usually refers to something that bears the
characteristics of plants or animals, for Frank Lloyd Wright the term organic
architecture had a separate meaning. For him organic architecture was an
interpretation of nature’s principles manifested in buildings that were in
harmony with the world around them. Wright held that a building should be
a product of its place and its time, intimately connected to a particular
moment and site—never the result of an imposed style.Wright was
interested in the relationship between buildings and their surrounding
environments. He believed that a building should complement its
environment so as to create a single, unified space that appears to “grow
naturally” out of the ground. He also thought that a building should function
like a cohesive organism, where each part of the design relates to the whole.
Wright’s organic architecture often incorporates natural elements such as
light, plants, and water into his designs. His color choices reflected the
environment as well with yellows, oranges, and browns.
ABSTRACT FORM

Astraction in Architecture. The relationship

between abstract art and Modernist architecture
was particularly strong in the early twentieth
century. Many painters paid homage to
architectural principles in their abstract
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Abstract Architecture Art.

DIMENTIONAL

A form can be transformed by altering oneor more of its dimensions and still retain itsidentity as a member of a family of
forms. Acube, for example, can be transformed intosimilar prismatic forms through discretechanges in height, width, or
length. It canbe compressed into a planar form or bestretched out into a linear one.

SUBTRACTIVE

A form can be transformed by subtracting aportion of its volume. Depending on theextent of the subtractive process,
the formcan retain its initial identity or be transformedinto a form of another family. For example, acube can retain its
identity as a cube eventhough a portion of it is removed, or betransformed into a series of regular polyhedrons that
begin to approximate a sphere.Because they are easily recognizable, simplegeometric forms, such as the primary
solids,adapt readily to subtractive treatment. Theseforms will retain their formal identities if portions oftheir volumes
are removed without deterioratingtheir edges, corners, and overall profile.Ambiguity regarding the original identity of a
formwill result if the portion removed from its volumeerodes its edges and drastically alters its profile.
ADDITIVE

A form can be transformed by the addition ofelements tom its volume. The nature of theadditive process and the
number and relativesizes of the elements being attacheddetermine whether the identity of the initialform is altered or
retained.

TRANSFORMATION OF FORM:
CENTRALIZED

A centralized architecture implies the availability of a single or a few entities that have control over the entire network.
Note that a centralized approach typically means one-hop connectivity to all network members but, in the context of
short-range embedded systems, is typically realized via a multihop network. From a securitypoint of view, this single
centralized entity needs to monitor the safety of the entire network. The utmost important task with this architecture is,
if needed, to generate and to distribute security keys to all the members via a pairwise secure channel established with
each member.

LINEAR

A term for artworks that foreground straight lines and discrete shapes as if drawn with a ruler, without indication of the
artist’s hand. While lines demonstrating a mathematical precision and edge can be found in figurative works
emphasizing linear perspective as well as classical architecture, such forms are generally found in abstract art, design,
and architecture. Classic examples include paintings by Piet Mondrian or Josef Albers, Donald Judd's Minimalist
sculptures, or Bauhaus architecture.

RADIAL

Radial design offers a method for organizing visual material by arranging it around a central point. Components of a
radial design are often arranged symmetrically, with parts evenly balanced. ... Radial design is everywhere, with
examples found in nature, architecture, and both decorative and fine art.

CLUSTERED

A clustered organization relies on physical proximity to relate its spaces one another. It often consists of repetition,
cellular spaces that have similar functions and share a common visual trait such as shape or orientation.

GRID

A grid organization consists of forms and spaces whose positions in space and relationship with one another are
regulated by a three-dimensional grid pattern or field. • The grid, create by two, usually perpendicular sets of parallel
lines, establish a regular pattern of points at their intersections. Projected into the third dimension, the grid pattern is
transformed into a set of repetitive, modular unit of space, within which spaces can occur as isolated events or as
repetitions of the grid module.
POSSIBILITIES OF GROUPING FORMS:

SPACIAL TENSION

Tehran Vertical Garden housing prototype is a LEED-platinum-like ecological real estate development project. It further
encourages density in the city center. Its spatial organization is based on the “circuliplex” use of main stairs as both
element of composition on each facade and continuous space-shaping device from sidewalk to rooftop terraces. Most of
the facade surfaces are covered with rolling vegetated panels. 3 types of outdoor inter-related rolling panels exist:
translucid, sun-shade grid and vegetated. The “circuliplex” (variant stair placement) spatial organization, favors
apartment entrances variation and typologies, users daily exercice, and esthetic variations via rupture of rythms.

EDGE-TO-EDGE CONTACT

Two forms share a common edge.

FACE-TO-FACE CONTACT

By contact of a flat surf.

INTERLOCKING VOLUMES

Interpenetration of each other space. The forms need not share visual traits