《设计基础》课程教学资源（电子图书）ARCHITECTURE Form, Space, & Order（Fourth Edition）.pdf_大学文库

PREFACE The original edition of this study introduced the student of architecture to form and space and the principles that guide their ordering in the built environment.Form and space are the critical means of architecture comprising a desian 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.The third edition persisted in illustrating the ways the fundamental elements and principles of architectural design manifest themselves over the course of human history but added an electronic component to introduce the aspects of time and movement to the exposition of elements and principles. In this fourth edition,major changes consist of the addition of more than two dozen contemporary examples,selectedto illustrate the new forms that go beyond the timeless elements of basic statics-the columns,beams,and load-bearing walls of stable constructions that are fixed in time and space.Five more modules have also been added to the electronic component to animate certain design decisions regarding scale and proportion,the type of visual,often subtle judgements that designers face in the development of a project. 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.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. PREFACE VII

The original edition of this study introduced the student of architecture to form and space and the principles that guide their ordering in the built environment. Form and space are the critical means of architecture comprising 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. The third edition persisted in illustrating the ways the fundamental elements and principles of architectural design manifest themselves over the course of human history but added an electronic component to introduce the aspects of time and movement to the exposition of elements and principles. In this fourth edition, major changes consist of the addition of more than two dozen contemporary examples, selected to illustrate the new forms that go beyond the timeless elements of basic statics—the columns, beams, and load-bearing walls of stable constructions that are fixed in time and space. Five more modules have also been added to the electronic component to animate certain design decisions regarding scale and proportion, the type of visual, often subtle judgements that designers face in the development of a project. 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. 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. PREFACE PREFACE / VII

ACKNOWLEDGMENTS I will always be indebted to the following people for their invaluable contributions to the original edition of this work:Forrest Wilson.whose insights into the communication of design principles helped clarify the organization of the material,and whose support made its initial 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 serviceduring the making of the first edition. For the second edition,my appreciation extends 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:L.Rudolph Barton,Laurence A.Clement,Jr.,Kevin Forseth,Simon Herbert,Jan Jennings,Marjorie Kriebel,Thomas E.Steinfeld,Cheryl Wagner.James M.Wehler,and Robert L.Wright. In preparing the third edition,Iam grateful to Michele Chiuini,Ahmeen Faroog,and Dexter Hulse for their thoughtful reviews of the second edition.While lattempted to incorporate much of their wise counsel, I remain solely responsible for any deficiencies remaining in the text.I especially want to express my gratitude to the editorial and production staff at John Wiley Sons for their invaluable support and encouragement,and to Nan-ching Tai for his creative contributions and technical assistance in preparing the electronic component of the third edition. Dr.Karen Spence,Gary Crafts.Lohren Deeg.and Dr.Ralph Hammann provided valuable insights and suggestions for this fourth edition.I want to especially recognize Paul Drougas and Lauren Olesky of John Wiley& Sons for their continuing editorial assistance and support.which made this publication not only possible but also an enjoyable endeavor. To Debra,Emily,and Andrew.whose love of life itis ultimately the role of architecture to nourish. VIII ARCHITECTURE:FORM,SPACE,ORDER

VIII / ARCHITECTURE: FORM, SPACE, & ORDER I will always be indebted to the following people for their invaluable contributions to the original edition of this work: Forrest Wilson, whose insights into the communication of design principles helped clarify the organization of the material, and whose support made its initial 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 extends 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: L. Rudolph Barton, Laurence A. Clement, Jr., Kevin Forseth, Simon Herbert, Jan Jennings, Marjorie Kriebel, Thomas E. Steinfeld, Cheryl Wagner, James M. Wehler, and Robert L. Wright. In preparing the third edition, I am grateful to Michele Chiuini, Ahmeen Farooq, and Dexter Hulse for their thoughtful reviews of the second edition. While I attempted to incorporate much of their wise counsel, I remain solely responsible for any deficiencies remaining in the text. I especially want to express my gratitude to the editorial and production staff at John Wiley & Sons for their invaluable support and encouragement, and to Nan-ching Tai for his creative contributions and technical assistance in preparing the electronic component of the third edition. Dr. Karen Spence, Gary Crafts, Lohren Deeg, and Dr. Ralph Hammann provided valuable insights and suggestions for this fourth edition. I want to especially recognize Paul Drougas and Lauren Olesky of John Wiley & Sons for their continuing editorial assistance and support, which made this publication not only possible but also an enjoyable endeavor. ACKNOWLEDGMENTS To Debra, Emily, and Andrew, whose love of life it is ultimately the role of architecture to nourish

INTRODUCTION Architecture is generally conceived-designed-realized-built-in response to an existing set of conditions.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 tofind a solution toit. 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:Art is solving problems that cannot be formulated before they have been solved.The shaping of the question is part of the answer. Designers inevitably and instinctively prefigure solutions to the problems they are confronted with.but the depth and range of their design vocabulary influence both their perception of a question and the shaping of its answer.If one's understanding of a design language is limited,then the range of possible solutionstoa problem will also be limited.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,itis not intended to diminish the importance of the social political,or conomic 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.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. INTRODUCTION IX

Architecture is generally conceived—designed—realized—built—in response to an existing set of conditions. 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: “Art is solving problems that cannot be formulated before they have been solved. The shaping of the question is part of the answer.” Designers inevitably and instinctively prefigure solutions to the problems they are confronted with, but the depth and range of their design vocabulary influence both their perception of a question and the shaping of its answer. If one’s understanding of a design language is limited, then the range of possible solutions to a problem will also be limited. 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. 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. INTRODUCTION INTRODUCTION / IX