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Architecture: form, space, & order. [Francis D K Ching] -- "This is an introduction to the basic vocabulary of architectural design, updated with new information on. Read "Architecture Form, Space, and Order" by Francis D. K. Ching available from Rakuten Kobo. Sign up today and get $5 off your first purchase. The revered . Author: Francis D. K. Ching Pages: Publication Date Release Date ISBN: Product Group:Book Download.
Architecture - Form, Space and Order 3rd ed.. Flag for inappropriate content. Related titles. Building Construction Illustrated - 4th Edition. Ching, Francis D. Architectural Standards Graphic Student Edition.
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Library of Congress Cataloging-in-Publication Data: Includes bibliographical references and index. ISBN pbk. Architecture--Composition, proportion, etc. Space Architecture I. C46 Closure Properties of Form 35 Summary Typology: Form and space are the critical means of architecture that comprise a design vocabulary that is both elemental and timeless.
The second edition continued to be a comprehensive primer on the ways form and space are interrelated and organized in the shaping of our environment, and was refined by editing the text and incorporating diagrams for greater clarity, adding selected examples of architectural works, expanding the sections on openings, stairways and scale, and finally, by including a glossary and an index to designers. This third edition continues to illustrate the ways the fundamental elements and principals of architectural design manifest themselves over the course of human history but adds an electronic component to introduce the aspects of time and movement to the exposition of elements and principles.
The historical models in this book span time and cross cultural boundaries. While the juxtaposition of styles may appear to be abrupt at times, the diverse range of examples is deliberate. The collage is intended to persuade the reader to look for likenesses among seemingly unlike constructions and bring into sharper focus the critical distinctions that reflect the time and place of their making.
Readers are encouraged to take note of additional examples encountered or recalled within the context of their individual experiences. As the design elements and principles become more familiar, new connections, relationships, and levels of meaning may be established. The illustrated examples are neither exhaustive nor necessarily the prototypes for the concepts and principles discussed.
Their selection merely serves to illuminate and clarify the formal and spatial ideas being explored.
Architecture - Form, Space and Order 3rd ed..pdf
These seminal ideas transcend their historical context and encourage speculation: How might they be analyzed, perceived, and experienced? How might they be transformed into coherent, useful, and meaningful structures of space and enclosure? How might they be reapplied to a range of architectural problems? This manner of presentation attempts to promote a more evocative understanding of the architecture one experiences, the architecture one encounters in literature, and the architecture one imagines while designing.
Forrest Wilson, whose insights into the communication of design principles helped clarify the organization of the material, and whose support made its publication possible; James Tice, whose knowledge and understanding of architectural history and theory strengthened the development of this study; Norman Crowe, whose diligence and skill in the teaching of architecture encouraged me to pursue this work; Roger Sherwood, whose research into the organizational principles of form fostered the development of the chapter on ordering principles; Daniel Friedman, for his enthusiasm and careful editing of the final copy; Diane Turner and Philip Hamp, for their assistance in researching material for the illustrations; and to the editorial and production staff at Van Nostrand Reinhold, for their exceptional support and service during the making of the first edition.
For the second edition, my appreciation goes to the many students and their teachers who have used this book over the years and offered suggestions for its improvement as a reference and tool for study and teaching.
I want to especially thank the following educators for their careful critique of the first edition: Rudolph Barton, Laurence A. Clement, Jr. Steinfeld, Cheryl Wagner, James M.
Wehler, and Robert L. In preparing this third edition, I am thankful to Michele Chiuini, Ahmeen Farooq, and Dexter Hulse for their thoughtful reviews of the second edition.
While I have attempted to incorporate much of their wise counsel, I remain solely responsible for any deficiencies remaining in the text.
To Debra, Emily, and Andrew, whose love of life it is ultimately the role of architecture to house. These conditions may be purely functional in nature, or they may also reflect in varying degrees the social, political, and economic climate.
In any case, it is assumed that the existing set of conditions—the problem—is less than satisfactory and that a new set of conditions—a solution—would be desirable. The act of creating architecture, then, is a problem-solving or design process.
The initial phase of any design process is the recognition of a problematic condition and the decision to find a solution to it. Design is above all a willful act, a purposeful endeavor. A designer must first document the existing conditions of a problem, define its context, and collect relevant data to be assimilated and analyzed.
This is the critical phase of the design process since the nature of a solution is inexorably related to how a problem is perceived, defined, and articulated. Piet Hein, the noted Danish poet and scientist, puts it this way: The shaping of the question is part of the answer.
This book focuses, therefore, on broadening and enriching a vocabulary of design through the study of its essential elements and principles and the exploration of a wide array of solutions to architectural problems developed over the course of human history. As an art, architecture is more than satisfying the purely functional requirements of a building program.
Fundamentally, the physical manifestations of architecture accommodate human activity. However, the arrangement and ordering of forms and spaces also determine how architecture might promote endeavors, elicit responses, and communicate meaning. So while this study focuses on formal and spatial ideas, it is not intended to diminish the importance of the social, political, or economic aspects of architecture.
Form and space are presented not as ends in themselves but as means to solve a problem in response to conditions of function, purpose, and context—that is, architecturally. The analogy may be made that one must know and understand the alphabet before words can be formed and a vocabulary developed; one must understand the rules of grammar and syntax before sentences can be constructed; one must understand the principles of composition before essays, novels, and the like can be written.
Once these elements are understood, one can write poignantly or with force, call for peace or incite to riot, comment on trivia or speak with insight and meaning.
Epub Download Architecture Form Space and Order E-Book
In a similar way, it might be appropriate to be able to recognize the basic elements of form and space and understand how they can be manipulated and organized in the development of a design concept, before addressing the more vital issue of meaning in architecture.
All of these constituents can be perceived and experienced.
Some Architectural order is created when the organization of parts makes visible may be readily apparent while others are more obscure to our intellect and their relationships to each other and the structure as a whole.
When these senses. Some may convey images and meaning while others serve as singular nature of the whole, then a conceptual order exists—an order that qualifiers or modifiers of these messages. Villa Savoye, Poissy, east of Paris, —31, Le Corbusier This graphic analysis illustrates the way architecture embodies the harmonious integration of interacting and interrelated parts into a complex and unified whole. Its inside order accommodates the multiple functions of a house, domestic scale, and partial mystery inherent in a sense of privacy.
Its outside order expresses the unity of the idea of house at an easy scale appropriate to the green field it dominated and possibly to the city it will one day be part of.
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. Each element is first considered as a conceptual element, then as a visual element in the vocabulary of architectural design. 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.
Point A point extended becomes a Line with properties of: A Memoir Based on a True Story. This Changes Everything: Capitalism vs. The Climate. The Prize: Team of Rivals: The Political Genius of Abraham Lincoln. The World Is Flat 3. A Brief History of the Twenty-first Century. Smart People Should Build Things: The Sympathizer: A Novel Pulitzer Prize for Fiction.
Lovers at the Chameleon Club, Paris A Novel. Jump to Page. Search inside document. It's got some amazing illustrations that are so beautiful to look at. I purchased not only the digital copy of this book but also the book copy of this. In an aritst perspective this is great to look at to see the basic structures of a building.
The illustrations are in sketch form and often describe each structure as well as location this is an awesome book to have. Reviewer Top Contributor: This is a soft covered textbook that was used for my interior design class.
It arrived with the corners slightly damaged. The book has a lot of pictures. Seemed to help me as a student better understand some new terminology but I will have to see if I wind up using that or not professionally.
I needed this book for an interior design class.
Buy for others
The book is indispensable in distilling key architectural concepts. It's just an introduction, but it really helps students to think in more architectural and 3-D terms.
There are also terrific examples and illustrations. The book isn't too dense and easy to read.
As a non-artist taking a digital arts course, this is a textbook for me. I found the book to be a good discussion on architecture and spaces, but I've had to look up things talked about in the book several times on the Internet. I also find the writing is alright, but is not always as clear as I wish it would be for me. For people who have already studied some art and architecture, though, I would imagine this would be an excellent book.
What I really like, though, is how it is organized. Must have for architecture students, professionals and enthusiasts. Those who have panned this book weren't looking for insight into the thought process of architectural design. This book is not a cookbook, but a primarily graphical introductory intended to start the architecture student thinking how architects think. I'm not technically an architecture student, but rather an architecture design "hobbyist".
This book is a textbook, not a 5 lb. This text was purchased as a high-school graduation gift for a student who has an interest in architecture. IT is an older edition, but the material is still pertinent for modern building development. This author's work was recommended by a professional architect from Leo A. Daly who has a couple of decades of experience in the field.
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