What is an architecture form?

Architecture is a three-dimensional medium, expressed in forms that

envelop the space around us. Form is used to describe the elements of
the building that define its overall shape, size, proportions, and profile. It
refers to the appearance of a building as a three-dimensional volume,
and it can apply to both exterior and interior spaces.

Buildings can be interpreted as a collection of shapes, masses, lines and

other elements, all coming together in a particular space.

How is form used to affect and

influence architecture design?
The below list summarizes the various types and categories of
architectural form, and how they can be used to influence design
decisions to create both internal and external spaces.

Transformation of form
From the primary elements, all other forms can be understood as a
transformation of solids from their primary form to other shapes and
volumes. This transformation can occur through the manipulation of its
dimensions or by the addition or subtraction of elements.

Subtractive forms
Subtractive transformation involves removing one or more parts of a
form’s volume to achieve a new form. This new form can transform the
solid into another family, or it may remain a part of its original solid
family depending on the extent of the transformation.

If, for example, a regular pyramid was cut horizontally near its base, it
would still be a regular pyramid. However, if the pointed tip is subtracted
from the pyramid’s form, it would become a truncated pyramid.

Subtractive forms are common in architecture. They can be used to

create fenestrations, or recesses for things like entrances, windows, and
courtyards. They can also be used to create dynamic volumes that
introduce sunlight and wind to internal spaces, or to provide protection
from the natural elements.
Additive forms
Additive forms refer to a transformation through the addition of elements.
The extent of additive transformation depends on the number of added
parts, as well as their placement and size. These additive forms can alter
the original solid, or cause the form to change its profile completely.

Unlike subtractive forms, where parts are removed, additive forms

introduce new pieces to the volume that may be smaller or larger than
the original solid. There are many different ways in which these forms
can be grouped. Here are some of the most well-known relationships of
additive forms:

Spatial tension

In spatial tension, forms and parts are interrelated by close proximity,

forming a larger group that represents the whole form. This type of
relationship does not require direct attachment. As Aristotle once said,
“The whole is greater than the sum of its parts.” Spatial tension
embraces the group in its entirety, with each additive piece playing an
integral part.

Edge to edge

Edge-to-edge relationships are forms that share a common edge as their

point of linear attachment. The volumes attached may be simple or
complex, as long as one or more edges meet or are shared between
them.

Face to face

A face-to-face relationship involves two or more forms that make contact

with one another along planar surfaces. These surfaces come in contact
parallel to one another, with or without alignment of their adjacent
edges.

Interlocking

An interlocking relationship involves the clashing or converging of forms.

Interlocking forms are volumes that overlap or penetrate one another,
creating a mass of intersecting solids.
Centralized

A centralized form consists of multiple secondary forms arranged around

a central parent form. The central form becomes the centerpiece, and is
usually the emphasis of the composition. Spheres, cones, and other
circular solids work well as the central form due to their natural self-
centering properties.

Linear

Linear relationships are achieved by arranging volumes in rows or

columns, creating linear sequences through the solid mass, void space, or
the patterns that emerge. Sequential changes in dimension or size can
also create linear relationships.

Radial

Radial form refers to a series of objects arranged around a centralized

core element in a radial manner. The forms extend outwards in a
revolving pattern to create a larger composition that typically converges
at the center.

Cluster

A cluster is a group of forms that create a composition through proximity,

size, shape, or function. Unlike other relationships that involve an
organized structure, a cluster can be grouped and organized without
geometric alignment or pattern.

Grid

A grid layout is a way of organizing forms into linear rows and columns. A
grid can be three-dimensional, and is often based on a series of squares.
This relationship allows forms to be arranged with consistent space and
distance. Grids can also be used to analyze or break down a group or
surface.

Collisions of geometry
It is common for two or more geometries to collide, resulting in a new
composite form. These colliding shapes or solids can be of equal size and
shape, or have different attributes altogether. There are many reasons
for the collision of geometry, including:

 To create an internal space within an existing form

  For symbolic or conceptual significance
 To satisfy the functional requirements of the form
 As a means to direct space to desired locations of the site
 To maintain or disrupt symmetry in the structure
 As a response to site conditions and context
Mass and scale
Mass in architecture refers to the physical size or bulk of a building. It
can be interpreted as a building’s actual size by measurement, or its
relative size by context. Mass, combined with shape, defines form.

Scale is a relative perception of size. In architecture, it refers to the size

of a building as compared to other contextual elements. These elements
may be familiar architectural features, surrounding buildings and
landmarks, or most commonly, the human figure.

Human scale is frequently used as a standard for scale and

measurement, to ensure buildings are considerate of anthropomorphic
and ergonomic functionality. The standards for human scale often vary
based on region, culture, and the target users of the facility.
Architects can use scale to make a building appear larger or smaller than
its actual size. A single design can also contain several different scales, to
achieve a more complex visual and spatial composition.

Proportion
In an architectural composition, proportion refers to the physical and
spatial relationships of one element to the other elements present, and to
the building as a whole.

Over centuries of art and architecture, several different proportioning

systems have been developed to help organize and unify the parts of a
building. The most well-known systems are arithmetic, geometric,
harmonic, material, or structural.

Arithmetic

Proportions that follow an arithmetic system use mathematics and

numerical functions to determine the patterns and restraints of the
design. Arithmetic systems are prevalent in Ancient Greek architecture,
with clear functions, ratios, and numerical sequences used in many of
their most iconic structures.
Geometric

A geometric system uses shapes and geometric values to determine the

size and scale of architectural features. In Classical architecture, the
dimensions of a building were often measured by the diameter of a
classical column.

Likewise, many Renaissance facades made use of regular shapes and

lines to create orderly designs based on squares, circles, and triangles.
One of the most widespread uses of geometric proportion is The Golden
Section.

Also expressed as the Golden Mean, it is both a geometric and arithmetic

proportioning system that can be found in architecture, product design,
and nature.

Harmonic

Harmonic proportions are inspired by the ancient discoveries of repeating

harmonies in music. It involves using repeating ratios such as 1:2, 2:3,
or 3:4 in buildings and spaces to create what many believe are
harmonious designs.

This can be observed in Roman Renaissance architecture, or later on from

the works of Palladio and Venetian musical theorists, who created a more
complex system based on the major and minor third, with a ratio of 4:5
or 5:6.

Material

In consideration of construction and cost-effectiveness, many buildings

are designed in appropriate proportions based on the materials being
used. With the majority of building materials following industry standard
unit sizes, their dimensions create another unit of measurement for the
building.

Materials such as wood planks, concrete masonry units, or bricks are

produced and sold in conventional sizes, and these sizes can form an
additional level of proportion for the overall design.
Structural

With structural members playing a critical role in architectural design,

they can have a significant impact on the proportions of the building.
Structural proportions are largely dependent on the load bearing capacity
and structural requirements of each member.
These members are applied as necessary, and can contribute to or
disrupt the proportioning system.

Rhythm
A series of recurring architectural elements or shapes can be described as
rhythm. This repetition may be regular or complex. Rhythm can
commonly be observed with repeating windows, arches, columns, or
moldings.

Articulation
The way in which building surfaces come together to define form is
commonly known as articulation. This includes the treatment of corners,
edges, solids and voids, all contributing to the articulation of the
building’s form.

It can also include the texture appearance of a building, its visual weight,
and its overall resemblance to something else.

Texture
Texture is an attribute mainly determined by the building materials, but it
can also be used to describe the appearance and surface qualities of
different architectural compositions. Materials like stone can be made to
appear smooth or rough, and it can also be carved to add more depth
and relief.

Similarly, a building with many angular protrusions on its facade may

appear rough or jagged, while a round organic structure may seem
smooth, but both can have openings or fenestration’s that add depth and
character to their original form.

Light
Light refers to the way in which a form is being illuminated. Form can be
perceived in multiple different ways depending on the light conditions
present at the time of viewing. As such, light and shadow play an integral
role in making forms visible to the human eye.

Edges and corners

Edges and corners are formed at the perimeter of planar surfaces. They
can often be found at the extents of the building, as well as on many
elements of the facade. More intricate geometry typically translates to
more edges and corners on the building envelope, and these elements
are often carefully articulated to achieve a desired look for the design.

Corners are present at the convergence of two planes. They may be

distinct corners, with the planes physically connected, or they may be
implied, with one or more faces set back from the other.

The change in direction for corners results in a contrast of light, and this
can be used to the design’s advantage to explore the interplay of shade
and shadows. They may also be fitted with different materials or
architectural features to highlight the change of plane.

In cases wherein a defined corner is not desired, they can be rounded off
to create a smooth transition between the adjoining planes. This can
either soften the sharp edge, or create the appearance of a continuous
surface, depending on the radius of the rounded curve.

Example:

The church of San Paolo Apostolo is located in Foligno, Italy. It is also

known as the St. Paolo Parish Complex, and it was designed as a symbol
of rebirth after the Umbria-Marche earthquakes of 1997.
Its primary form is tall and boxy, with abstract voids cutting through its
massive concrete facade. These voids create deep windows that allow
light to penetrate into the church’s spacious interiors.

The building’s imposing presence makes for a decisive landmark in the

area, one of the key goals of the original competition brief.

SANNA’s Summer Pavilion features large canopies with thin roofing and
numerous slim steel columns for support. The columns wrap around
under its curving eaves to create a boundary without enclosure, the
feeling of a wall without barrier.

This results in an environment that blurs the lines between the outside
and the indoor, the open space from the sheltered and shaded.

To conclude…
Form is at the very core of architectural design, and it carries with it
endless possibilities in space and mass.

Understanding the fundamentals of form can help you maximize your

creativity with three-dimensional volumes, resulting in more complex and
meaningful architectural designs.
Whether you’re a student, a young professional, or a seasoned architect
in the field, there are always new ways to explore form in design.