BASIC DESIGN II
ARCG 120 – 22-23 – SEM II
Department of Architecture and Interior Design
College of Engineering
University of Bahrain
MAIN TOPICS
LECTURE 03
LECTURE 05
LECTURE 01
LECTURE 02
LECTURE 04
LECTURE 06
COLOR VISUAL TEXTURE FORM & SPACE ANTHRO- CIRCULATION
PERCEPTION POMETRY &
SCALE
MAIN TOPICS
LECTURE 03
LECTURE 05
LECTURE 01
LECTURE 02
LECTURE 04
LECTURE 06
COLOR VISUAL TEXTURE FORM & SPACE ANTHRO- CIRCULATION
PERCEPTION POMETRY &
SCALE
A rchitecture lies between Mass and Void
&
LECTURE 04
A beautiful
thing to
look at…
a place to be
In
How we remember
architecture!
Form = 3D
illustrated or constructed
Created by the joining
of two or more shapes
• Organic
• geometric
• Abstract
• symbolic.
Enhanced by light, texture and color
Architectural form is the
point of contact between
mass and space..
Architectural forms,
textures, materials,
modulation of light and
shade, color, all combine
to inject a quality or spirit
that articulates space.
The quality of the
architecture will be
determined by the skill of
the designer in using or
relating these elements,
both in the interior spaces
and in the spaces around
buildings.
Space
Begins to be captured, enclosed, molded, and organized by the elements of mass
Most people cannot experience
the "emptiness" of space but
instead, their attention is drawn
to the material that defines the
outer limits of the space.
basically, space is a dimension
dependent on the viewer or
his/her viewpoint.
At the scale of a building, we tend to read the configurations of walls as the positive elements of plan.
The white space in between, however, should not be seen simply as background for the walls, but also as
figures in the drawing that have shape and form.
Our visual field normally consists of heterogeneous elements that differ in shape, size, color or orientation. To
comprehend the visual field, we tend to organize its elements into two opposing groups: positive and negative
Perception as
Visual Field
Opposite elements
POSITIVE NEGATIVE
• Figures, the positive elements that attracts our attention, could not exist without a contrasting background.
• Figures and their background, therefore, are more than opposing elements.
Form and Space: The Unity of Opposites
Form and space Inseparable reality A unity of opposite
Form and space together to form the reality of Architecture
Line defining the boundary The form of solid mass The form of the spatial
between solid mass rendered as figure void rendered as figure.
and spatial void
spatial relationships and formal relationships are two of one coin, as altering one will inevitably affect the other
Its important to emphasize this point in architecture as spaces are always experience from the inside & the outside
Space-Form: Unity of the oppositions
Studio Daniel Libeskind: 18.36.54
Connecticut home
Space-Form: Unity of the oppositions
Robert Bruno: Steel House
space pod
Space-Form: Unity of the oppositions
Coop-Himmelb(l)au: Pavilion 21 Mini Opera Space
Herzog & de Meuron: Vitra Haus i
FORM DEFINING SPACE
Three dimensional forms
articulate the volume of
space surrounding it and
generates the field of
influence or territory which
it claims as its own.
FORM DEFINING SPACE
Building forms that serve as
containers can be read as
masses that define volumes
of space.
Piazza del Campidoglio, Rome,
C. 1544, Michelangelo.
A series of buildings enclose an urban square.
Space defining elements:
Horizontal element(s)
Vertical element(s)
Space defining elements
Horizontal planes:
◦ Base plane
◦ Elevated base plane
◦ Depressed based plane
◦ Overhead plane
Base Plane
A horizontal plane on a contrasting background defines a simple
field of space within a larger context.
Base Plane
For a horizontal plane to be seen as
a figure, there must be some level
of contrast
A perceptible change in color, tone,
or texture between its surface and
that of the surrounded area.
Base Plane
The stronger the edge definition of a horizontal plane is, the more distinct will be its field.
Elevated Base
Plane
An elevated horizontal plane separates
itself from the surrounding ground and
creates a domain within a larger
spatial context.
Elevated Base Plane
The degree to which spatial and visual continuity is
maintained between an elevated space and its surroundings
depends on the scale of the level change.
1- The edge of the field is well defined. Physical access
is easily accommodated.
2- Spatial continuity is interrupted; Physical access
requires the use of ramp or stairs.
3- Visual and spatial continuity is interrupted; the field of
the elevated plane is isolated from the ground or floor
plane; the elevated plane is transformed into a sheltering
element for the space below
Elevated Base Plane
An elevated ground plane can be pre existing
site condition, or it can be artificially
constructed to deliberately raise a building
above the surrounding context or enhance its
image in the landscape.
Elevated Base Plane
An elevated plane can define a
transitional space between a interior
of a building and the out door
environment. Combining with a roof
plane, it develops into the semi
private realm of a porch or a veranda.
Depressed Base
Plane
A sunken horizontal plane begins to
define a volume of space, isolated
from a larger context.
Depressed Base Plane
1- The depressed field can be an interruption of the ground and the
floor plane and remain an integral part of the surrounding space
2- Increasing the depth of the depressed field weakens its visual
relationship with the surrounding space and strengthen its definition
as a distinct volume of space
3- Once the original base plane is above our eye level, the depressed
field becomes a separate and distinct room in itself.
4- Creating a stepped, terrace or ramp transition from one level to
the next helps promote continuity between a sunken space and the
area that rises around it.
Depressed Base Plane
The ground plane can be lowered
to define sheltered outdoor spaces
for underground buildings
Depressed Base Plane
A large area can be sunken
to reduce the scale of the
room and define a more
intimate space within it.
OVERHEAD
HORIZONTAL
PLANE
Defines a volume of space beneath it.
Overhead Plane
The major overhead element of a building is its roof plane determine by the material, geometry,
and proportions of its structural system and the manner in which it transfers its loads across
space to its supports.
Overhead Plane
The roof plane can be the major space
defining element of a building and
visually organize a series of form and
spaces beneath its sheltering canopy
Well defined negative areas or voids within an overall plane,
Overhead Plane such as for skylights, can be seen as positive shapes that
establish the presence of spatial fields below their openings.
Space defining elements
Vertical elements:
1. Vertical linear elements
2. Single vertical plane
3. L shaped plane
4. Parallel planes
5. U-shaped planes
6. Four planes (closure)
1. Vertical linear elements
Vertical linear elements can terminate an axis, mark the center of an urban space, or provide a
focus for an urban space along its edge
1. Vertical linear elements
1. Vertical linear elements
Vertical linear elements can also define a transparent volume of spaces
A vertical element may mark the corner of the platform and establish a
field of space – a three dimensional framework.
A regular spaced series of columns form
a colonnade.
It defines an edge of a spatial volume while permitting visual and spatial continuity to exist between the
space and its surrounding.
2. Single vertical plane
Articulate the space which it fronts
Two surfaces establish the edges of
two separate and distinct spatial field
Two surfaces can be similar or
different in form, color or texture.
To define a three dimensional volume
of space, the plane must interact with
other elements of form
provides sense of It separates one Good sense of
provides little or no enclosure, allows space from another. enclosure
sense of enclosure visual continuity
Single Vertical Plane
2. Single vertical plane
exterior and interior spaces
3. L- shaped plane
L-Shaped Plane defines a field of space along a
diagonal from its corner outward
Two edges of the space clearly defined by the two
planes, but the other two remain ambiguous
Introducing void at the one side of the corner
weakens the definition of the field.
If neither plane extends to the corner, the field
becomes more dynamic along the diagonal axis.
• Linear form incorporate the corner within its boundary
• Corner can be articulated as an independent form
• A corner can enclose a field of outdoor space to which
its interior spaces relates, or shelter a portion of
outdoor space from undesirable conditions around it.
Building forms with L-Shaped configuration
• L-shaped configuration of planes are open ended, and
flexible space defining elements.
• They can be used in combination with one another or with
other elements of form to define rich variety of spaces.
L-Shaped configuration of planes
3. L-Shaped Plane
RESIDENCE ARCHITECTURE IN
L-SHAPED SHELTERING
L-SHAPED CONFIGURATION
3. L-Shaped Plane
L-SHAPED INTERIOR DESIGNS
4. Parallel planes
• Parallel Plane defines the volume of space in between
that is oriented axially towards open end.
• It gives the space a strong directional quality.
• It provide introverted space in nature.
• Opening in one or both of the planes can also
introduce secondary axes to the field and
modulate the directional quality of the space.
4. PARALLEL
PLANES
•The directional quality and flow of the
space defined by parallel planes are
naturally manifested in spaces used for
circulation and movement.
•Facades of the building fronting them,
colonnades or arcades.
4. Parallel planes
Interior and exterior of the buildings
5. U- shaped plane
U shaped Plane defines the volume that is primarily
oriented towards the open end
• The open end of U-shaped configuration creates uniqueness
relative to the other three planes.
• Allows visual and spatial continuity
• Columns or overhead element at the open end, interrupts
the continuity with the adjoining space.
• The open end remains the primary face of the spatial field
whereas the opposite plane will be the principal element.
5. U-SHAPED PLANES
• U-shaped forms have the inherent ability • These forms can serve to define an urban
to capture and define outdoor spaces space and terminate an axial condition
6. Four planes: closure
The strongest type of spatial definition in
architecture
• Naturally introverted
• Well defined, enclose field of space
• Various scales from a small room to a large urban square
Well defined enclosed configuration
Four planes enclosure can be
characterized by their centrality, their
clarity, their regulatory of forms and sizes
SUMMARY TYPOLOGY
SPACE-DEFINING ELEMENT
SUMMARY TYPOLOGY
SPACE-DEFINING ELEMENT
