FRANCIS D.K. CHING ARCHITECTURE FORM,SPACE,&ORDER FOURTH EDITION INTERACTIVE RESOURCE CENTER CHING WILEY
ARCHITECTURE Form,Space,Order Fourth Edition Francis D.K.Ching WILEY
ARCHITECTURE Form, Space, & Order Fourth Edition Francis D.K. Ching
CONTENTS Preface vi Acknowledgments viii Introduction ix 1 Primary Elements 3 Form Space Primary Elements 2 Form &Space 100 Point 4 Form &Space:Unity of Opposites 102 Point Elements 5 Form Defining Space 110 Two Points 6 Horizontal Elements Defining Space 111 Line 8 Base Plane 112 Linear Elements 10 Elevated Base Plane 114 Linear Elements Defining Planes 15 Depressed Base Flane 120 From Line to Plane 14 Overhead Plane 126 Plane 18 Vertical Elements Defining Space 134 Planar Elements 20 Vertical Linear Elements 136 Volume 28 Single Vertical Plane 144 Volumetric Elements 30 L-Shaped Configuration of Planes 148 L-Shaped Planes 149 2 Form Parallel Vertical Planes 154 Form 34 Parallel Planes 155 Properties of Form 35 U-Shaped Planes 160 Shape 36 Four Planes:Closure 166 Primary Shapes 38 Four Planes:Enlosure 170 Circle 39 Openings in Space-Defining Elements 174 Triangle 40 Openings within Planes 176 Square 41 Openings at Corners 178 Surfaces 42 Openings between Planes 180 Curved Surfaces 43 Qualities of Architectural Space 182 Primary Solids 46 Degree of Enclosure 184 Regular &Irregular Forms 50 Light 186 Transformation of Form 54 View 190 Dimensional Transformation 56 Subtractive Form 58 4 Organization Subtractive Additive Forms 61 Organization of Form &Space 196 Additive Form 62 Spatial Relationships 197 Centralized Form 64 Space within a Space 198 Linear Form 66 Interlocking Spaces 200 Radial Form 70 Adjacent Spaces 202 Clustered Form 72 Spaces Linked by a Common Space 204 Grid Form 76 Spatial Organizations 206 Formal Collisions of Geometry 78 Centralized Organizations 208 Circle&Square 80 Linear Organizations 218 Rotated Grid 82 Radial Organizations 228 Articulation of Form 84 Clustered Organizations 234 Edges Corners 86 Grid Organizations 242 Corners 87 Surface Articulation 92
CONTENTS Preface vii Acknowledgments viii Introduction ix 1 Primary Elements Primary Elements 2 Point 4 Point Elements 5 Two Points 6 Line 8 Linear Elements 10 Linear Elements Defining Planes 15 From Line to Plane 14 Plane 18 Planar Elements 20 Volume 28 Volumetric Elements 30 2 Form Form 34 Properties of Form 35 Shape 36 Primary Shapes 38 Circle 39 Triangle 40 Square 41 Surfaces 42 Curved Surfaces 43 Primary Solids 46 Regular & Irregular Forms 50 Transformation of Form 54 Dimensional Transformation 56 Subtractive Form 58 Subtractive & Additive Forms 61 Additive Form 62 Centralized Form 64 Linear Form 66 Radial Form 70 Clustered Form 72 Grid Form 76 Formal Collisions of Geometry 78 Circle & Square 80 Rotated Grid 82 Articulation of Form 84 Edges & Corners 86 Corners 87 Surface Articulation 92 3 Form & Space Form & Space 100 Form & Space: Unity of Opposites 102 Form Defining Space 110 Horizontal Elements Defining Space 111 Base Plane 112 Elevated Base Plane 114 Depressed Base Plane 120 Overhead Plane 126 Vertical Elements Defining Space 134 Vertical Linear Elements 136 Single Vertical Plane 144 L-Shaped Configuration of Planes 148 L-Shaped Planes 149 Parallel Vertical Planes 154 Parallel Planes 155 U-Shaped Planes 160 Four Planes: Closure 166 Four Planes: Enlosure 170 Openings in Space-Defining Elements 174 Openings within Planes 176 Openings at Corners 178 Openings between Planes 180 Qualities of Architectural Space 182 Degree of Enclosure 184 Light 186 View 190 4 Organization Organization of Form & Space 196 Spatial Relationships 197 Space within a Space 198 Interlocking Spaces 200 Adjacent Spaces 202 Spaces Linked by a Common Space 204 Spatial Organizations 206 Centralized Organizations 208 Linear Organizations 218 Radial Organizations 228 Clustered Organizations 234 Grid Organizations 242
CONTENTS 5 Circulation ASelected Bibliography 425 Circulation:Movement through Space 252 Glossary 427 Circulation Elements 253 Index of Buildings 435 Approach 254 Index of Designers 441 Entrance 262 Index of Subject Matter 443 Configuration of the Path 276 Path-Space Relationships 290 Form of the Circulation Space 294 6 Proportion Scale Proportion &Scale 306 Material Proportions 307 Structural Proportions 308 Manufactured Proportions 310 Proportioning Systems 311 Golden Section 314 Requlating Lines 318 Classical Orders 320 Renaissance Theories 326 Modulor 330 Ken 334 Anthropometry 338 Scale 341 Visual Scale 342 Human Scale 344 AScalar Comparison 346 7 Principles Ordering Principles 350 Axis 352 Symmetry 360 Hierarchy 370 Datum 380 Rhythm 396 Repetition 397 Transformation 418 Conclusion 422
CONTENTS 5 Circulation Circulation: Movement through Space 252 Circulation Elements 253 Approach 254 Entrance 262 Configuration of the Path 276 Path-Space Relationships 290 Form of the Circulation Space 294 6 Proportion & Scale Proportion & Scale 306 Material Proportions 307 Structural Proportions 308 Manufactured Proportions 310 Proportioning Systems 311 Golden Section 314 Regulating Lines 318 Classical Orders 320 Renaissance Theories 326 Modulor 330 Ken 334 Anthropometry 338 Scale 341 Visual Scale 342 Human Scale 344 A Scalar Comparison 346 7 Principles Ordering Principles 350 Axis 352 Symmetry 360 Hierarchy 370 Datum 380 Rhythm 396 Repetition 397 Transformation 418 Conclusion 422 A Selected Bibliography 425 Glossary 427 Index of Buildings 435 Index of Designers 441 Index of Subject Matter 443
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
INTRODUCTION In order to place this study in proper context,the following is an overview of the In all cases,however,these elements and systems should be interrelated basic elements.systems.and orders that constitute a work of architecture.All to form an integrated whole having a unifying or coherent structure. of these constituents can be perceived and experienced.Some may be readily Architectural order is created when the organization of parts makes visible apparent while others are more obscure to our intellect and senses.Some may their relationships to each other and the structure as a whole.When these dominate while others play a secondary role in a building's organization.Some relationships are perceived as mutually reinforcing and contributing to the may convey images and meaning while others serve as qualifiers or modifiers of singular nature of the whole,then a conceptual order exists-an order that these messages. may well be more enduring than transient perceptual visions. Architectural Systems The Architecture of Space organizational pattern,relationships,clarity,hierarchy Structure formal image and spatial definition Endosure qualities of shape.coor texture,scale.proportion qualities of surfaces,edges,and openings Experienced through Movement in approach and entry Space-Time path configuration and access ·sequence of spaces .light,view,touch,sound,and smell Achieved by means of Technology structure and enclosure .environmental protection and comfort health,safety,and welfare .durability and sustainability Accommodating a Program user requirements,needs,aspirations sociocultural factors ·economic factors ·legal constraints .historical tradition and precedents Compatible with its Context ·site and environment .climate:sun,wind,temperature,precipitation .geography:soils,topography.vegetation,water .sensory and cultural characteristics of the place X /ARCHITECTURE:FORM,SPACE,ORDER
X / ARCHITECTURE: FORM, SPACE, & ORDER t PSHBOJ[BUJPOBMQBUUFSO SFMBUJPOTIJQT DMBSJUZ IJFSBSDIZ t GPSNBMJNBHFBOETQBUJBMEFGJOJUJPO t RVBMJUJFTPGTIBQF DPMPS UFYUVSF TDBMF QSPQPSUJPO t RVBMJUJFTPGTVSGBDFT FEHFT BOEPQFOJOHT t BQQSPBDIBOEFOUSZ t QBUIDPOGJHVSBUJPOBOEBDDFTT t TFRVFODFPGTQBDFT t MJHIU WJFX UPVDI TPVOE BOETNFMM t TUSVDUVSFBOEFODMPTVSF t FOWJSPONFOUBMQSPUFDUJPOBOEDPNGPSU t IFBMUI TBGFUZ BOEXFMGBSF t EVSBCJMJUZBOETVTUBJOBCJMJUZ t VTFSSFRVJSFNFOUT OFFET BTQJSBUJPOT t TPDJPDVMUVSBMGBDUPST t FDPOPNJDGBDUPST t MFHBMDPOTUSBJOUT t IJTUPSJDBMUSBEJUJPOBOEQSFDFEFOUT t TJUFBOEFOWJSPONFOU t DMJNBUFTVO XJOE UFNQFSBUVSF QSFDJQJUBUJPO t HFPHSBQIZTPJMT UPQPHSBQIZ WFHFUBUJPO XBUFS t TFOTPSZBOEDVMUVSBMDIBSBDUFSJTUJDTPGUIFQMBDF In order to place this study in proper context, the following is an overview of the basic elements, systems, and orders that constitute a work of architecture. All of these constituents can be perceived and experienced. Some may be readily apparent while others are more obscure to our intellect and senses. Some may dominate while others play a secondary role in a building’s organization. Some may convey images and meaning while others serve as qualifiers or modifiers of these messages. In all cases, however, these elements and systems should be interrelated to form an integrated whole having a unifying or coherent structure. Architectural order is created when the organization of parts makes visible their relationships to each other and the structure as a whole. When these relationships are perceived as mutually reinforcing and contributing to the singular nature of the whole, then a conceptual order exists—an order that may well be more enduring than transient perceptual visions. Architectural Systems INTRODUCTION The Architecture of Space Structure Enclosure Experienced through Movement in Space-Time Achieved by means of Technology Accommodating a Program Compatible with its Context
INTRODUCTION ...Orders Physica Form and Space Systems and organizations of ·solids and voids ·5pace interior and exterior ·structure enclosure ·machines Perceptual Sensory perception and recognition of the physical approach and departure elements by experiencing them sequentially in time ·entry and egress movement through the order of spaces functioning of and activities within spaces qualities of light,color,texture.view,and sound Conceptual Comprehension of the ordered or disordered ·images relationships among a building's elements and systems. ·patterns and responding to the meanings they evoke ·5ign5 ·5 ymbol5 ·context SPACE FUNCTION FORM TECHNICS* Technics refers to the theory.principles,or study of an art ora process. INTRODUCTION XI
Systems and organizations of t TQBDF t TUSVDUVSF t FODMPTVSF t NBDIJOFT t BQQSPBDIBOEEFQBSUVSF t FOUSZBOEFHSFTT t NPWFNFOUUISPVHIUIFPSEFSPGTQBDFT t GVODUJPOJOHPGBOEBDUJWJUJFTXJUIJOTQBDFT t RVBMJUJFTPGMJHIU DPMPS UFYUVSF WJFX BOETPVOE t JNBHFT t QBUUFSOT t TJHOT t TZNCPMT t DPOUFYU SPACE FUNCTION FORM TECHNICS* …& Orders INTRODUCTION / XI INTRODUCTION Physical Form and Space t TPMJETBOEWPJET t JOUFSJPSBOEFYUFSJPS Perceptual Sensory perception and recognition of the physical elements by experiencing them sequentially in time Conceptual Comprehension of the ordered or disordered relationships among a building’s elements and systems, and responding to the meanings they evoke * Technics refers to the theory, principles, or study of an art or a process
INTRODUCTION Spatial System Structural System The three-dimensional integration of program elements and spaces Agrid of columns supports horizontal beams and slabs. accommodates the multiple functions and relationships of a house. The cantilever acknowledges the direction of approach along the longitudinal axis. Enclosure System Four exterior wall planes define a rectangular volume that contains the program elements and spaces. Villa Savoye,Poissy,east of Paris,1923-31,Le Corbusier This graphic analysis ilustrates the way architecture embodies the harmonious integration of interacting and interrelated parts into a complex and unified whole. XII /ARCHITECTURE:FORM,SPACE,ORDER
XII / ARCHITECTURE: FORM, SPACE, & ORDER Spatial System t 5IFUISFFEJNFOTJPOBMJOUFHSBUJPOPGQSPHSBNFMFNFOUTBOETQBDFT accommodates the multiple functions and relationships of a house. Villa Savoye, Poissy, east of Paris, 1923–31, Le Corbusier Structural System t "HSJEPGDPMVNOTTVQQPSUTIPSJ[POUBMCFBNTBOETMBCT t 5IFDBOUJMFWFSBDLOPXMFEHFTUIFEJSFDUJPOPGBQQSPBDIBMPOHUIF longitudinal axis. Enclosure System t 'PVSFYUFSJPSXBMMQMBOFTEFGJOFBSFDUBOHVMBSWPMVNFUIBUDPOUBJOT the program elements and spaces. This graphic analysis illustrates the way architecture embodies the harmonious integration of interacting and interrelated parts into a complex and unified whole. INTRODUCTION
