GESTALT READINGS OF FORM Gestalt reading of form Diagrams follow basic visual rules and yet remain capable of deliberate nuance even in their simplest form.The examples below all show variant characteris- tics of a simple square figure and its visual properties as seen in a field. The first three diagrams display figure-ground,perimeter and axial path (8).The next four demonstrate appreciation of the same square figure with emphasis on a spatial reading of the figure's gestalt character as it relates to the field (9). The two elongated diagrams show the effect of the field's proportions on our reading of the figure(10).The final image translates four axial paths into a three-dimensional diagram. Figure 8:The square ina square field-as a solid,as in-line form(as walls)and with axial paths. Diagram8-1 Diagram 8-2 Diagram8-3 Figure9:Diagrams of space and paths-combination forms linear drawing,spatial tone and radiant forms. Diagram 91 Diagram9-2 Diagram9-3 Diagram93 Figure 1o:Diagrams of a square in a directional field shown as combination forms and linear drawing.The dia- grams hint at the origin of the axial datum. Figure Diagram of a cube and its axes in a square field presented in perspective. 30
Figure 8: The square in a square eld – as a solid, as in-line form (as walls) and with axial paths. Diagram 8·1 Diagram 9·1 Diagram 9·2 Diagram 9·3 Diagram 9·3 Diagram 8·2 Diagram 8·3 Figure 9: Diagrams of space and paths – combination forms, linear drawing, spatial tone and radiant forms. Figure 10: Diagrams of a square in a directional eld shown as combination forms and linear drawing. The diagrams hint at the origin of the axial datum. Figure 11: Diagram of a cube and its axes in a square eld presented in perspective. Gestalt reading of form Diagrams follow basic visual rules and yet remain capable of deliberate nuance even in their simplest form. e examples below all show variant characteristics of a simple square figure and its visual properties as seen in a field. e first three diagrams display figure-ground, perimeter and axial path (). e next four demonstrate appreciation of the same square figure with emphasis on a spatial reading of the figure’s gestalt character as it relates to the field (). e two elongated diagrams show the effect of the field’s proportions on our reading of the figure (). e final image translates four axial paths into a three-dimensional diagram
2-SORTING THROUGH IDEAS DEMONSTRATION2·2 Plan as diagram Imagining fields within The ubiquity of wall poche often hides its intrinsic visual character.Beginning designers often make the misstep of viewing plan as informative but 'sketchy' Viewed carefully,however,the diagrams can lead to valuable speculation wherein patterns suggest themselves not only a possible improvements but also as opportunities for exploration,question and learning. The simple images represent examples of commonplace themes in design. Figure 1:Diagrammatic plan of entrance along an edge. From the first diagram,we move through a evolving sequence of theme and variation exploring openings and their effect on spatial form.As before,the intent is to illustrate design thinking in diagrams. Starting with a single opening on a square perimeter (1),the diagrams reveal a sequence of theme and variation concerning entrances and their effect on spatial experience(2-7).The diagrams shown are without scale.At this point they merely array some options for formal pattern. Alternate sequences might begin focus on variation in the size of the open- ings,more complex arrangements or proportions.The example implies no Figure 2:Two entrances face Figure 3:Two entrances ideal as to form.These sorts of pattern exercises simply display schematic opposite along an edge. opposite across the center. ideas as definite form.Remembering to observe plans as visual artifacts as well as design documents can encourage fresh views of the design conventions used in most projects. Figure 4:Four entrances cre- Figure s:Two entrances face ate a crossing. occupy the same edge. Figure 6:Two corer entrances Figure7:Multiple entrances create diagonal path. articulate the volume. 31
– DEMONSTRATION Plan as diagram Figure 1: Diagrammatic plan of entrance along an edge. Figure 2: Two entrances face opposite along an edge. Figure 3: Two entrances opposite across the center. Figure 4: Four entrances create a crossing. Figure 5: Two entrances face occupy the same edge. Figure 6: Two corner entrances create diagonal path. Figure 7: Multiple entrances articulate the volume. Imagining elds within e ubiquity of wall poché often hides its intrinsic visual character. Beginning designers often make the misstep of viewing plan as informative but ‘sketchy’. Viewed carefully, however, the diagrams can lead to valuable speculation wherein patterns suggest themselves not only a possible improvements but also as opportunities for exploration, question and learning. e simple images represent examples of commonplace themes in design. From the first diagram, we move through a evolving sequence of theme and variation exploring openings and their effect on spatial form. As before, the intent is to illustrate design thinking in diagrams. Starting with a single opening on a square perimeter (), the diagrams reveal a sequence of theme and variation concerning entrances and their effect on spatial experience (–). e diagrams shown are without scale. At this point they merely array some options for formal pattern. Alternate sequences might begin focus on variation in the size of the openings, more complex arrangements or proportions. e example implies no ideal as to form. ese sorts of pattern exercises simply display schematic ideas as definite form. Remembering to observe plans as visual artifacts as well as design documents can encourage fresh views of the design conventions used in most projects
CHAPTER Order first On order Order surrounds us as part of our everyday experience of the world.We see this in the games we play,the tables that we eat at and even the books that we read.On a football field,a line defines sides,a perimeter defines borders and a frame defines the goal.A place setting structures a meal and defines it as either casual or formal.Text presents itself as words,sentences,paragraphs, sections and chapters.As you read this page,you rely on its organization,its division of space.A large vertical portion holds the text while off to the side is a smaller portion holds illustrations and notes.This is the architecture of this book-its order. Figure:Our psychological response to the visual presence ofa square Our book uses a common organizational strategy for its pages:big piece, leans in the direction of finding its center and axes. small piece-primary and subordinate.As we add other typographic furniture -headers,footers,notes,etc.-this also conforms to that basic architecture to keep things clear.We experience such strategies as relationships of parts to whole.Ordering those relationships is what composition means as a practice. One of the ongoing debates for architects and designers concerns whether compositional form is part of the content,or only a means.We find that debate irrelevant to learning composition.After all,good writing reflects its composition,whether that writing is a poem,an essay or a set of instructions. Figure 8:Edges lead us to follow the axes outward extending the diagram- Similarly,composing music requires a sense of,if not a theory for,harmonic matic dynamic of the figure into the ground. principles.It is fair to admit that we,the authors,find form intrinsic to archi- tecture and not merely a means to an end. It is improbable that we would make a building without placing a stake in the ground,literally or figuratively.We start from somewhere and proceed to define a figure.Even the architecture of the space station defines a particular place relative to the universe and its boundaries describe its perimeter.This focal reality,'centeredness,derives from both our expectations and our visual perception. Gestalt psychology informs us that when we see a square,we perceive its center at nearly the same moment().As we observe the figure of the square, we measure it and apportion it.We recognize its center,its corners and its middle(2).We do much the same with other shapes.Such perceptions lead us to organize the world in terms of the components of visual composition: edges,axes,centers,and subdivisions.The clarity of these perceptions depend on a perceptual capacity that we term FIGURE-GROUND
Figure 8: Edges lead us to follow the axes outward extending the diagrammatic dynamic of the gure into the ground. Figure 1: Our psychological response to the visual presence of a square leans in the direction of nding its center and axes. CHAPTER Order first On order Order surrounds us as part of our everyday experience of the world. We see this in the games we play, the tables that we eat at and even the books that we read. On a football field, a line defines sides, a perimeter defines borders and a frame defines the goal. A place setting structures a meal and defines it as either casual or formal. Text presents itself as words, sentences, paragraphs, sections and chapters. As you read this page, you rely on its organization, its division of space. A large vertical portion holds the text while off to the side is a smaller portion holds illustrations and notes. is is the architecture of this book – its order. Our book uses a common organizational strategy for its pages: big piece, small piece – primary and subordinate. As we add other typographic furniture – headers, footers, notes, etc. – this also conforms to that basic architecture to keep things clear. We experience such strategies as relationships of parts to whole. Ordering those relationships is what composition means as a practice. One of the ongoing debates for architects and designers concerns whether compositional form is part of the content, or only a means. We find that debate irrelevant to learning composition. After all, good writing reflects its composition, whether that writing is a poem, an essay or a set of instructions. Similarly, composing music requires a sense of, if not a theory for, harmonic principles. It is fair to admit that we, the authors, find form intrinsic to architecture and not merely a means to an end. It is improbable that we would make a building without placing a stake in the ground, literally or figuratively. We start from somewhere and proceed to define a figure. Even the architecture of the space station defines a particular place relative to the universe and its boundaries describe its perimeter. is focal reality, ‘centeredness’, derives from both our expectations and our visual perception. Gestalt psychology informs us that when we see a square, we perceive its center at nearly the same moment (). As we observe the figure of the square, we measure it and apportion it. We recognize its center, its corners and its middle (). We do much the same with other shapes. Such perceptions lead us to organize the world in terms of the components of visual composition: edges, axes, centers, and subdivisions. e clarity of these perceptions depend on a perceptual capacity that we term –
ON ORDER Figure 2:Line drawing of the cassic figure-ground ambigu- ity towards reading either face or vase as the figure. Figure 3:A third,volumetric version demonstrates a surpris- ingly strong figure-ground ambiquity. Figure 4:Tonal shapes of the same fiqure-ground example The emphasis of this version lends some figure dominance to the faces. Roughly speaking.figure-ground identifies our perception of edge.It is how we establish order amidst visual ambiguity.It is the visual framework that helps us locate an object in space with our eyes.We mention this psychologi- cal term because it affects the practice of drawing.Ordering visual ambiguity is how a drawing becomes a coherent image.In order to comprehend a draw- ing,we must respond correctly to its formal qualities.Ultimately,comprehen- sion also involves us in a cultural framework of convention and expectation, but all of that follows from perceived visual order(3-9). The history of drawing embodies a long tradition of recording what we Figure 5:Another classic Figure 6:A related modem observe,and projecting what we imagine,a tradition shared with the history figure-ground ambiguity,the variation of figure-ground of architecture.Therefore,to understand architecture-whether to sustain it young and old woman. ambiguity,the young woman and the saxophone player. or challenge it-requires an understanding of how drawing,composition and architecture intertwine and conflate. Drawings exist on a page,a surface real or virtual.They can either float in a near-infinity,or exist within a visible boundary.They show things in a two- dimensional format utilizing contrast to either illustrate two-dimensional Figure 7:Perspective figure- Figure8:This perspective ground ambiguity,in which the shows the two possible resolu- spatial/volumetric character of tions of the ambiguity-a the form resists dear resolution. truncated pyramid or frustum and its hollow inverse. 34
Figure 2: Line drawing of the classic gure-ground ambiguity towards reading either face or vase as the gure. Figure 4: Tonal shapes of the same gure-ground example. The emphasis of this version lends some gure dominance to the faces. Figure 3: A third, volumetric version demonstrates a surprisingly strong gure-ground ambiguity. Roughly speaking, figure-ground identifies our perception of edge. It is how we establish order amidst visual ambiguity. It is the visual framework that helps us locate an object in space with our eyes. We mention this psychological term because it affects the practice of drawing. Ordering visual ambiguity is how a drawing becomes a coherent image. In order to comprehend a drawing, we must respond correctly to its formal qualities. Ultimately, comprehension also involves us in a cultural framework of convention and expectation, but all of that follows from perceived visual order (–). e history of drawing embodies a long tradition of recording what we observe, and projecting what we imagine, a tradition shared with the history of architecture. erefore, to understand architecture – whether to sustain it or challenge it – requires an understanding of how drawing, composition and architecture intertwine and conflate. Drawings exist on a page, a surface real or virtual. ey can either float in a near-infinity, or exist within a visible boundary. ey show things in a twodimensional format utilizing contrast to either illustrate two-dimensional Figure 5: Another classic gure-ground ambiguity, the young and old woman. Figure 6: A related modern variation of gure-ground ambiguity, the young woman and the saxophone player. Figure 7: Perspective gureground ambiguity, in which the spatial/volumetric character of the form resists clear resolution. Figure 8: This perspective shows the two possible resolutions of the ambiguity – a truncated pyramid or frustum and its hollow inverse
3-ORDER FIRST Figure 9:We use common references to speak of measure- ment.Here the two hands indicate a distance between them. shape and area or suggest three-dimensional form and space.Comprehending an illustration requires interpretation,and provokes questions.Does a draw- ing reference something besides its own example?How big is the thing that it references?What is its size and scale?Such questions lead us readily to ideas of measurement. On measure Rulers and their units of measurement are so nearly ubiquitous that we can Figure o:Leonardo DaVind,the great Renaissance master,left us this scarcely imagine them as not pre-existing.If someone asks 'How big was the classic interpretation of the Vtruvian Man-shown above redrawn after fish?'you might find yourself illustrating the answer as a space between two the original. hands (1o).You might also add,'It was twelve inches across,'never seeing the gesture and description as conflicting or distinct.This brings us to an impor- tant if subtle point.The gestural measurement is relational:it uses something that is actually there-the space between your hands-to refer to something absent-the fish.The verbal description makes use of yet another absentee, the unit of measurement. Figure The architect,Le Corbusier,also had a great interest in the rela- The inch(from the Latin uncia)signifies one twelfth,a relation without a tionship of human proportion to design.His famous Modular Man set about necessary parent or source.We make sense of the fish's size if we know that measuring the golden section in relationship to the body. an inch in this instance is the twelfth part of a foot and by also knowing- from prior experience-how large a foot is,however approximately.Someone with a background in the metric system might not be able to sort it out at all. The verbal description-twelve inches across-leads us back to ideas of drawing.How do you find a twelfth,one might ask.It turns out that the basic action,finding a center,helps us find halves and fourths and eighths,thirds, sixths,and twelfths as well.This sort of practice resides at the heart of our earliest understanding of geometry. Geometry-the art of measuring ground-begins with the simple tools of the straightedge and the compass.It is an elementary practice that founds itself in the perception and measure of the world.To understand architecture requires that we also understand how we go about measuring things.Sub- dividing a square works from the outside inward.In contrast,the Cartesian grid starts from an origin-the zero point-and works outward.This is an important distinction.The world of the infinite grid and the ruler,by exten- sion,is an unbounded world.Infinity is a scary proposition for human beings. 35 www.ebook3000.com
– Figure 9: We use common references to speak of measurement. Here the two hands indicate a distance between them. Figure 10: Leonardo DaVinci, the great Renaissance master, left us this classic interpretation of the Vitruvian Man – shown above redrawn after the original. Figure 11: The architect, Le Corbusier, also had a great interest in the relationship of human proportion to design. His famous Modular Man set about measuring the golden section in relationship to the body. shape and area or suggest three-dimensional form and space. Comprehending an illustration requires interpretation, and provokes questions. Does a drawing reference something besides its own example? How big is the thing that it references? What is its size and scale? Such questions lead us readily to ideas of measurement. On measure Rulers and their units of measurement are so nearly ubiquitous that we can scarcely imagine them as not pre-existing. If someone asks ‘How big was the fish?’ you might find yourself illustrating the answer as a space between two hands (). You might also add, ‘It was twelve inches across,’ never seeing the gesture and description as conflicting or distinct. is brings us to an important if subtle point. e gestural measurement is relational: it uses something that is actually there – the space between your hands – to refer to something absent – the fish. e verbal description makes use of yet another absentee, the unit of measurement. e inch (from the Latin uncia) signifies one twelfth, a relation without a necessary parent or source. We make sense of the fish’s size if we know that an inch in this instance is the twelfth part of a foot and by also knowing – from prior experience – how large a foot is, however approximately. Someone with a background in the metric system might not be able to sort it out at all. e verbal description – twelve inches across – leads us back to ideas of drawing. How do you find a twelfth, one might ask. It turns out that the basic action, finding a center, helps us find halves and fourths and eighths, thirds, sixths, and twelfths as well. is sort of practice resides at the heart of our earliest understanding of geometry. Geometry – the art of measuring ground – begins with the simple tools of the straightedge and the compass. It is an elementary practice that founds itself in the perception and measure of the world. To understand architecture requires that we also understand how we go about measuring things. Subdividing a square works from the outside inward. In contrast, the Cartesian grid starts from an origin – the zero point – and works outward. is is an important distinction. e world of the infinite grid and the ruler, by extension, is an unbounded world. Infinity is a scary proposition for human beings. www.ebook3000.com