Architecture: Form, Space, & Order by Francis D.K.

Ching, Chapter 7: Principles

Ordering Principles

Order refers not simply to geometric regularity, but rather to a condition in which each part of a whole is
properly disposed with reference to other parts and to its purpose so as to produce a harmonious arrangement
The forms and spaces of any building should acknowledge the hierarchy inherent in the functions for which
they were created
Order without diversity can result in monotony and diversity without order can produce chaos.
Therefore, there is a happy medium between order and diversity
Ordering Principles

Axis—a line established by two points in space, about which forms and spaces can be arranged in a
symmetrical or balanced manner
Symmetry—the balances distribution and arrangement of equivalent forms and spaces on opposite sides of a
dividing line or plane, or about a center or axis
Hierarchy—the articulation of the importance or significance of a form or space by its size, shape, or placement
relative to the other forms and spaces of the organization
Rhythm—a unifying movement characterized by a patterned repetition or alternation of formal elements or
motifs in the same or a modified form
Datum—a line, plane, or volume, by its continuity and regularity, serves to gather, measure, and organize a
pattern of forms and spaces
Transformation—the principle that an architectural concept, structure, or organization can be altered through a
series of discrete manipulations and permutations in response to a specific context or set of conditions without a
loss of identity or concept

Axis

Most elementary means of organizing forms and spaces in architecture

Although imaginary and not visible, can be a powerful, dominating, and regulating device
Implies symmetry but demands balance
Qualities of length and direction and induces movement and promotes views along its path
Notion of an axis may be reinforced by defining edges along its length
Can also be established simply by a symmetrical arrangement of forms and spaces
The termination points of an axis send and receive visual thrust
Symmetry

A symmetrical condition cannot exist without implying the existence of an axis or center about which it is
structured
Requires the balanced arrangement of equivalent patters of form and space on opposite sides of a dividing line
or plane, or about a center or axis
Two Fundamental Types of Symmetry:

Bilateral symmetry—the balanced arrangement of similar or equivalent elements on opposite sides of a median
axis so that only one plane can divide the whole into essentially identical halves
Radial symmetry—the balances arrangement of similar, radiating elements such that the composition can be
divided into similar halves by passing a plane at any angle around a center point or along a central axis

An architectural composition can utilize symmetry to organize its forms and spaces in two ways.

Entire building organization made symmetrical

Only a portion of the building and organize an irregular pattern of forms and spaces about itself
Hierarchy

In most, if not all architectural compositions, real differences exist among their forms and spaces
Differences reflect the degree of importance of the forms and spaces and the functional, formal, and symbolic
roles they play
In order for a form or space to be shown as important or significant to an organization, it must be uniquely
visible
This can be achieved by giving a form or shape:
Exceptional size
A unique shape
A strategic location
Cannot be done in excess because when everything is emphasized, nothing is emphasized.
Hierarchy by Size

This is made visible by the sheer size of an element

In some cases, an element can dominate by being extremely smaller than its surrounding elements
Hierarchy by Shape

Clearly differentiating a form’s shape from that of the other elements in the composition
Hierarchy by Placement

Hierarchically important locations for a form or space include:

The termination of a linear sequence or axial organization
The centerpiece of a symmetrical organization
The focus of a centralized or radial organization
Being offset above, below, or in the foreground of a composition
Datum
A line, plane, or volume of reference to which other elements in a composition can relate
Organizes a random pattern of elements through its regularity, continuity, and constant presence
An example of this is the lines of a musical staff, as they provide the visual basis for reading notes and the
relative pitches of their tones
Does not have to be a straight line, can be planar or volumetric in form
To be an effective ordering device, a linear datum must have sufficient visual continuity to cut through or
bypass all of the elements being organized
To be an effective ordering device if planar or volumetric in form, a datum must have sufficient size, closure,
and regularity

Rhythm
Any movement characterized by a patterned recurrence of elements or motifs at regular or irregular intervals
Some examples are beams, columns, windows, and doors
As humans, we tend to group elements in a random composition according to:
Their closeness to one another
The visual characteristic they share in common
The repetition principle uses both of these concepts of visual perception to order recurring elements in a
composition.
Simplest form of repetition is a linear pattern of redundant elements
Transformation
The study of architecture should involve the study of its past endeavors and accomplishments in order to learn
and emulate them
The principle of transformation allows a designer to select a prototypical architectural model whose formal
structure and ordering of elements might be appropriate and reasonable, and to transform it through a series of
discrete manipulations in order to respond to the specific conditions and context of the design task at hand