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Form (architecture)
In architecture, form refers to a combination of external appearance, internal structure, and the unity of the design as a whole, an order created by the architect using space and mass.
The external outline of a building includes its shape, size, color, and texture, as well as relational properties, like position, orientation, and visual inertia (appearance of concentration and stability).
Architects are primarily concerned with the shapes of the building itself (contours, silhouettes), its openings (doors and windows), and enclosing planes (floor, walls, ceiling).
Forms can have regular shape (stable, usually with an axis or plane of symmetry, like a triangle or pyramid), or irregular; the latter can sometimes be constructed by combining multiple forms (additive forms, composition) or removing one form from another (subtractive forms).
Multiple forms can be organized in different ways:
From the architectural standpoint, the structure is what keeps the architectural construction as a solid body. It is a set of bulky objects that are pervasive throughout the building and thus are closely related to its shape. Historically, a form was expected to seamlessly and elegantly combine the artistic expression and physical reality in "a meeting of art and science through design".
Multiple approaches were suggested to address the reflection of the structure in the appearance of the architectural form. In the 19th-century Germany, Karl Friedrich Schinkel suggested that the structural elements shall remain visible in the forms to create a satisfying feeling of strength and security, while Karl Bötticher as part of his "tectonics" suggested splitting the design into a structural "core-form" (German: Kernform) and decorative "art-form" (German: Kunstform). Art-form was supposed to reflect the functionality of the core-form: for example, rounding and tapering of the column should suggest its load-bearing function. In the tectonics as envisioned by Bötticher, the function (defined as requirements for internal space) had driven the design: the size determined the roof technology to be used, the latter in turn mandated the support requirements, creating a structural outline of the building, architecture was an art of resolution of the conflicts between the functional need and architectural forms that can be built.
New materials had frequently inspired new forms. For example, the arrival of construction iron essentially created a set of new core-forms, and many architects got busy inventing the matching art-forms. Similarly, introduction of reinforced concrete, steel frame, and large plates of sheet glass in the 20th century caused creation of radically new space and mass arrangements. The properties of these materials enabled the Modern architecture to create a novel visual vocabulary that showcased the technology.
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Form (architecture)
In architecture, form refers to a combination of external appearance, internal structure, and the unity of the design as a whole, an order created by the architect using space and mass.
The external outline of a building includes its shape, size, color, and texture, as well as relational properties, like position, orientation, and visual inertia (appearance of concentration and stability).
Architects are primarily concerned with the shapes of the building itself (contours, silhouettes), its openings (doors and windows), and enclosing planes (floor, walls, ceiling).
Forms can have regular shape (stable, usually with an axis or plane of symmetry, like a triangle or pyramid), or irregular; the latter can sometimes be constructed by combining multiple forms (additive forms, composition) or removing one form from another (subtractive forms).
Multiple forms can be organized in different ways:
From the architectural standpoint, the structure is what keeps the architectural construction as a solid body. It is a set of bulky objects that are pervasive throughout the building and thus are closely related to its shape. Historically, a form was expected to seamlessly and elegantly combine the artistic expression and physical reality in "a meeting of art and science through design".
Multiple approaches were suggested to address the reflection of the structure in the appearance of the architectural form. In the 19th-century Germany, Karl Friedrich Schinkel suggested that the structural elements shall remain visible in the forms to create a satisfying feeling of strength and security, while Karl Bötticher as part of his "tectonics" suggested splitting the design into a structural "core-form" (German: Kernform) and decorative "art-form" (German: Kunstform). Art-form was supposed to reflect the functionality of the core-form: for example, rounding and tapering of the column should suggest its load-bearing function. In the tectonics as envisioned by Bötticher, the function (defined as requirements for internal space) had driven the design: the size determined the roof technology to be used, the latter in turn mandated the support requirements, creating a structural outline of the building, architecture was an art of resolution of the conflicts between the functional need and architectural forms that can be built.
New materials had frequently inspired new forms. For example, the arrival of construction iron essentially created a set of new core-forms, and many architects got busy inventing the matching art-forms. Similarly, introduction of reinforced concrete, steel frame, and large plates of sheet glass in the 20th century caused creation of radically new space and mass arrangements. The properties of these materials enabled the Modern architecture to create a novel visual vocabulary that showcased the technology.