Les PRINCIPLES

   AXIS:

In design, the axis becomes a guide to organize forms and spaces. It is simply a line, established by two points in space. Elements can be arranged in a regular or irregular manner. Most of the time it implies symmetry, but always demands balance.

In this example, the spatial organization of this chapel is clearly based on an axial organization. It is perfectly symmetrical which creates structure and complete balance.

    

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   SYMMETRY:

An axial organization can imply symmetry, however symmetry cannot exist without the existence of a guiding axis or center point. Symmetry occurs when a pattern is repeated on each opposite side of the axis or center. Furthermore, there are two fundamental types of symmetry: bilateral symmetry and radial symmetry.

The gallery shown in this picture illustrates perfectly the use of symmetry in architecture. If we trace a line in the middle, we clearly see that we have the exact same form on each sides.

    

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   HIERARCHY:
A hierarchical organization implies the existence of differences in forms and spaces. These differences reflect the degree of their importance as well as their functional, formal and symbolic roles. The values that are then expressed may be individual or collective, personal or cultural. It establishes a visual, hierarchical order among its forms and spaces.
This is an example of hierarchical organization. Stupas in Burma can have various sizes, thus vary in importance.

    

    

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   REPETITION / RHYTHM

A recurrent pattern in a composition is referred as a repetitive pattern. Their are different forms of repetition but the most common one is a linear pattern of redundant elements. However, there is no need for the redundant element to be perfectly identical, as long as they share common traits. Rhythm is sometimes added when their is movement created by a pattern at regular or irregular intervals.

In this library, there is a clear repetition in the form of the bookshelves. Rhythm is also created through the regularly decreasing size. 

    

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   DATUM:

A datum is a very effective ordering device. It is defined by a line, plane or volume of reference to which multiple elements can relate. It has the power to organize something that appears as random through its regularity and continuity.

The building shown below illustrates perfectly this organizing concept. The corners look disorganized and out of control. However, they are regulated and put in balance through the plane surfaces seen in the middle of each façade. 

        

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   TRANSFORMATION:

A transformation can be applied anytime in a design process. It allows a designer to modify a structure, that might already be reasonably designed and ordered, and transform it through a series of manipulations in order to respond to the users new needs .

For example, offices have here been added to this original plant. There is clearly a contrast between a new modern element and a traditional building. However it is clear that it has been purposely added to create originality and focus and the building. 

    

La CIRCULATION

   Building approach:

When coming in contact with an interior of a building, the first step is to approach it. It is the first phase of the circulation system. We follow a path that will lead us to our destination. For a short period of time, we can see the space from the outside, thus anticipate what we are about to experience. This path can be of numerous form or length, and the experience will vary depending on its nature.

For example, prior to enter this house, we have to go up some stairs. This makes the viewer to get a progressive discovery of what the overall building looks like.

    

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   Building entrance:

The second phase of the circulation system is to physically penetrate the space. A very basic definition of entering a building or other defined field of space would be going through a vertical plane that is here to separate one space from another. Through this action we will experience the transition between ‘here’ and ‘there’. This action can also be signified in more subtle ways.

For example, this firm has thought of a very unusual way to attract the attention. The entrance becomes the focal point – it is receded into the space and looks as if it was carved into the building, and that flashy color that makes it stand out more than ever.

    

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  Configuration of the path:

Who says path says movement. All paths have a starting point, from which we are guided through a sequence of spaces, all the way to a destination. Throughout this path we will experience different obstacles. This varies depending on our mode of transportation - walking paths will differ widely from roads that are made for driving.

Here we have a path that has been designed for a school’s outside area. It conveys circulation and gives student the opportunity to rest at the same time.

    

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  Path-space relationship:

A path is related to the spaces it is linked to. This relation can somehow varies, and depending on its nature, it will influence our experience while going through that path.

In this example, the location of the space establishes the path. The space-path relationship is used to approach and enter in a very significant way, thus, meant for significant spaces.

        

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   Form of the circulating space:

Spaces for movement are the most important part of a building’s organization. Our orientation within the space gives us an understanding of its spatial layout. However, we have to make them more than just functional linking devices. Its form and scale should be representative of the buildings concept, thus accommodating the people as they circulate.

In this library, the circulating path is mimicked through the bookcases. Those steps give us the ability to circulate but also become seats for us to relax.

    

Ch. 4: L'ORGANIZATION

   Adjacent Spaces:

Having two spaces adjacent to one another is an example of spatial organization. It consists in separating two rooms or areas with a structural element such as a wall.  It is an effective way to create privacy or facilitate circulation. It is also possible to separate spaces without giving a feeling of closure – for example the use of columns, fragments of walls or even a change of level can be used to create separation while keeping a strong connection between spaces.

    

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    Interlocking Spaces:
By interlocking two spaces we create a new shared area that can become very useful in the world of design. It is a way to keep a strong connection between two different spaces by creating a smooth transition. It is also an ingenious way to make good use of space while keeping a strong aesthetic. In small rooms for example, the staircase can also become a bookshelf or even a desk. 

    

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    Centralized Organization: 

Centralized organization can be defined by a central space that provides organization to secondary spaces around it. It means that a concentrated dominant object acts as a unifying agent for smaller objects around it. It can create a radial, looped or spiral circulation. 

    

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    Linear Organization:

This spatial organization is created by a linear connection between spaces. It is a series of related elements connected through repetition and appears directional. It forces circulation by leading us to a define area or dominating space/form. It can also be used to carry the eye in a horizontal manner, thus creating a focal point.

    

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   Grid Organization: 

A grid organization establishes order through repetitive and regularized patterns. The module is the object or form which creates this pattern through its duplication. This process creates a constant field which provides an ordering frame of reference. There are an infinite number of grid forms since their characteristics can easily vary - size, number of divisions, etc.                                                                             

    

Ch. 3: La FORME & le SPACE

    The Unity of Opposites:
The unity of opposites is used in design to put emphasis on an element by creating contrast between the object and its environment. Our eye directly picks it up by naturally making the selection of a noticeable, contrasted object in a general background. This opposition can be created in many ways – color, size relationship, and most of the time with a play of positive and negative spaces.

    

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    Defining Space with Horizontal Linear Elements: 

A horizontal plane elevated at a certain height creates a volume of space between itself and the ground level. In the case of a closed area, it usually serves as a reflection of the structural system supporting the overhead plane. Placed in an exterior environment it is used as a protection that isolates us from weathering forces such as rain or sunlight.

    

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    Defining Space with Vertical Linear Elements: 

An L-shaped plane defines a vertical element in space. It is created by the grouping of two vertical planes, but angled differently. It then defines a field along a diagonal from its corner outward. It can be used to isolate a space from another. The isolation is somehow stronger when closer to the corner. The further away we get, the less introverted the area becomes.

    

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    Qualities of Architectural Space:

The quality of  a space can be defined by the degree of openness on the outside or with adjacent spaces. It creates spatial and visual continuity, thus facilitating circulation and allows light to enter the area. When in a space, it is the most important factor influencing our sense of comfort and happiness.

These openings can vary in number and size. In this example, the windows are so wide that the space loses its sense of enclosure. This allows the space to get better lighting and creates a more direct relationship with the exterior environment.

    

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     Openings in Space-Defining Elements:
Having openings in a space is an essential element to ensure a sense of well-being and comfort. Here, we have an example of window-wall, which offers more expansive views and allows a greater amount of daylight to penetrate the space. It also weakens the vertical boundaries of a space , but creates the potential for visually expending the space beyond its physical boundaries.