DIDS111A1BJahanSharmin
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DIDT 111
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Jan 8, 2025
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01DIDS11 - Assignment #1 Part B: Final Journal SubmissionLINE, SHAPE, FORM &SPACEBy: Sharmin JahanProfessor: Nawwar Osmani
02TABLE OF CONTENTTABLE OF CONTENT 02PART 2: FORM & SPACE 07 - 11FORMS AND SHAPES IN ARCHITECHTURE 08REGULAR FORMS & SHAPES 09IRREGULAR FORMS & SHAPES 10PART 3: FORM & SPACE 12 - 15FORMS AND SPACE IN ARCHITECHTURE 13FORM DEFINING SPACE 14REFLECTION ON FORMS & SHAPES 15CONCLUTION 16REFERENCE 17 & 18Fig. 15COVER PAGE 01PART 1: LINE 03 - 06 REFLECTION ON FORMS & SHAPES 11Part B: Final Journal Submission_Sharmin Jahan
PART 1: LINE03Part B: Final Journal Submission_Sharmin Jahan Fig. 46 Line as Movement
Fig. 5 Single line Drawing LINEIn figure 1, parallel horizontal lines beneath the cars suggestmotion, using simplicity to convey speed and direction. Infigure 2, both straight and curved lines combine to representmusical notes, leaves, and arrows, showing how lines canmimic natural forms or serve functional purposes. In figure 3,the arrangement of straight and curved lines reflects structureand fluidity, demonstrating how lines can be used to createorder or evoke a sense of movement.Lines can defineboth regular andirregular forms.Regular formslike squares,rectangles, andtriangles aregeometric,bringing orderand predictabilityto designs. Fig. 1Fig. 2Fig. 3In Figure 4, irregular, angular lines create a fragmented, abstract face, evokingtension and complexity. The sharp edges and disjointed geometry suggest amodern, dynamic feel. In contrast, Figure 5 uses smooth, flowing lines to depictan intimate moment, with soft curves evoking calm and romance. While bothfigures portray human forms, the distinct line styles produce entirely differentemotions. Figure 4 feels energetic and abstract, while Figure 5 conveys tranquilityand intimacy.A line, at its core, is oneof the mostfundamental elementsin art and design. It hasthe ability to defineshapes, create textures,and convey movement.The versatility of lineslies in their simplicity; asingle stroke can evokean array of emotions,represent forms, orcreate boundaries.Curved lines, often seen in nature, bring a senseof organic fluidity and softness to design.According to John A. Parks in Universal Principlesof Art, curves in nature are inherentlyinviting, evoking feelings of grace and flow asthey mimic the shapes of rivers, leaves androlling hills.Parks notes that curves tend toguide the eye smoothly, providing a sense ofcontinuity and calm. This is why curved lines arecommonly used in spaces meant to relax orcomfort, as they replicate the natural patternsthat human eyes are accustomed to following,providing a visually soothing experience. Fig. 7 Spiral StaircasesFig. 6 Millipede's BodyPart B: Final Journal Submission_Sharmin Jahan 04In Fig 6 The spiral of the millipede'sbody reflects nature’s blend offluidity and structure, which isechoed in the architectural design ofthe staircase. Both Fig 6 & 7repeating, coiled patterns to create asense of movement and order.Nature’s organic forms inspirearchitecture, turning the naturalbeauty of spirals into practical,functional designs that balanceaesthetics with purpose.Fig. 4Vertical LinesHorizontalLinesDiagonalLinesCurveLines
05The curve of a rainbow is calm, and theimperfections in the repetition of a spiderweb make it more dynamic. Colour canalso change the feeling of a line or highlighta line in the case of the colour contrast ofthe field and sky in Fig. 8. The coloured linesof the rainbow add joy to the image; if theimage was in black and white it would nothave the same affect.Fig. 8 RainbowFig. 9 DUO Twin TowersFig. 10 HoneycombIn Fig 9 and 10, the organic formsin nature and architecture showhow patterns mimic nature’sdesign principles, creatingbalance between structure andfluidity. The honeycomb patternsof the DUO Twin Towers reflectthe wasp's nest, highlighting thestrength and elegance shared byboth natural and human-madedesigns.Lines, whether in art or interiordesign, shape perception andcreate structure, but they alsohold emotional weight. Theartwork in Fig 11, with its flowing,graceful lines forming a humanprofile, mirrors the thoughtful useof lines in the interior spaces ofFig 12, 13 and 14. In the interiors,circular lines on walls soften thesharp, geometric furniture,creating balance and warmth.Meanwhile, bold diagonal stripesinject energy and movement,similar to the way the artwork’slines guide the eye and createrhythm. These varied uses oflines, both subtle and dynamic,demonstrate their emotionalimpact, influencing how we feeland interact with a space.Fig. 14The modern architecture extends this concept outdoors, wheresleek horizontal and vertical lines frame the house and connectthe structured interior to the organic environment. The woodendeck adds texture and warmth, softening the clean lines muchlike natural elements in the artwork. Whether used to createcalm, energy, or harmony, lines in both art and design evokespecific emotions, guiding perception and shaping the way weexperience and respond to the spaces around us.Fig. 11Fig. 12Fig. 13Part B: Final Journal Submission_Sharmin Jahan
REFLECTION ON LINE 06Part B: Final Journal Submission_Sharmin Jahan Reflecting on line as a key design element, I've realized how powerful it is in shaping art and design. Lines, whether straight, curved,thick or thin, each create a unique feeling and impact the overall design. Straight lines feel strong and organized, creating a senseof order and stability, while curved lines add a natural, flowing quality, making the design feel more relaxed and organic. Linesaren’t just simple marks, they define shapes, divide spaces and guide the viewers eye through the design. In architecture, lines playa crucial role in shaping buildings, creating structure and influencing how people feel when they enter a space. A building withsharp, clean lines might feel modern and powerful, while a structure with soft, curved lines might feel more welcoming andcalming. I’m happy with how I described lines in my journal, especially how they bring energy and movement to a design. It’samazing how a simple line can change the mood of an entire piece, whether it’s the sleek lines of a skyscraper or the gentle curvesof a sculpture. Overall, I've learned that even simple lines are essential for creating both structure and emotion in art and design.They are more than just visual elements, they have the ability to guide our emotions, influence our experience, and help tell thestory of a space or artwork.
PART 2: FORM AND SHAPEFig. 1607Part B: Final Journal Submission_Sharmin Jahan
Fig.17 Shapes “Architectural form is the point of contactbetween mass and space. Architectural forms,textures, materials, modulation of light andshade, color, all combine to inject a quality orspirit that articulates space. The quality of thearchitecture will be determined by the skill ofthe designer in using and relating theseelements, both in the interior spaces and in thespaces around buildings.”Edmund N. BaconThe Design of Cities197408FORMS AND SHAPES IN ARCHITECHTUREFig. 21 Louvre Museum, ParisFig. 23 Colosseum, RomeFig. 22 Walt Disney Concert Hall, United States In Architecture: Form, Space, and Order, Francis D.K. Ching describesshape as "the principal aspect by which we identify and categorizeforms,"emphasizing it’s role in how we visually understand andorganize different architectural elements. Shape, he explains, is theouter outline or configuration of a form, giving each structure or objectit’s unique identity and distinguishing it from others around it (Ching,2014).This idea highlights that in architecture and design, shape is not just anaesthetic feature but a fundamental quality that helps us recognize andmentally classify objects. For instance, we might identify a dome as around, enclosed shape or recognize a column by its cylindrical form.These shapes allow us to categorize and make sense of the builtenvironment, guiding our understanding of spaces and their purposes.Forms can retain theirregularity even whentransformeddimensionally or by theaddition or subtractionof elements. From ourexperiences with similarforms, we can constructa mental model of theoriginal whole evenwhen a fragment ismissing or another partis added.Fig.19 Shapes Fig.20 Shapes Fig.18 Shapes Part B: Final Journal Submission_Sharmin Jahan
09REGULAR FORMS & SHAPES Regular forms refer to those whose parts are related to one another in a consistentand orderly manner. They are generally stable in nature and symmetrical about one ormore axes. The sphere, cylinder, cone, cube, and pyramid are prime examples ofregular forms.Fig. 24 C&P Corporate Headquarters,AustriaFig. 25 Matrimandir, AurovilleFig. 26 Housing complex, Montreal Fig.28 Biosciences research building, GalwayRegular shapes in architecture include basic, symmetrical forms like circles, squares andtriangles. These shapes are balanced, easy to recognize and create a sense of order andstability. Regular forms often repeat across a building's design, making it feel cohesive andharmonious. Francis D.K. Ching notes, “A regular form has an axis of symmetry, isstable in its shape, and is less likely to change over time” (Ching, Architecture: Form,Space, and Order, 2014). This stability is why regular shapes are so common in bothclassical and modern architecture.Fig. 29 Forms in ArchitectureFig.27 Blue Planet Aquarium, EnglandPart B: Final Journal Submission_Sharmin Jahan Centralized formClustered formGrid formRadial formLinear form
Irregular shapes are a hallmark of innovative architecture, giving each building a uniqueidentity. Zaha Hadid’s Wangjing SOHO in Beijing, with its wave-like forms, creates a sense offluid movement. The OCT Chaohu Natural and Cultural Centre blends seamlessly with it’slandscape, using natural, flowing lines to harmonize with the environment. The Tianjin BinhaiLibrary by MVRDV, featuring an eye like structure and curving bookshelves, mergesarchitectural design with cultural symbolism, making it both functional and visuallycaptivating. These examples illustrate how irregular forms transform buildings into artisticand expressive spaces.10IRREGULAR FORMS & SHAPES Irregular forms are thosewhose parts are dissimilar innature and related to oneanother in an inconsistentmanner. They are generallyasymmetrical and moredynamic than regular forms.They can be regular formsfrom which irregularelements have beensubtracted or result from anirregular composition ofregular forms. Fig. 30 OCT Chaohu Natural and Cultural Centre, ChinaFig. 31 Wangjing SOHO Towers,China Fig. 32 Tianjin Binhai Library, ChinaFig. 33 REGULAR & IRREGULAR FORMSPart B: Final Journal Submission_Sharmin Jahan Natural Flowing like Formwave FormsCurve Forms
11Reflecting on shapes and forms in design and architecture, I've learned a lotabout how they help create spaces that look good and work well. Shapes, likecircles and squares, are flat and two-dimensional, while forms, like cubes andspheres, have depth and are three-dimensional. I found the idea of "formfollows function," coined by Louis Sullivan, really interesting. This means thata building’s shape should match what it’s meant to do, which makes it moreuseful and pleasing to those who interact with it. For example, a concert hall’sshape is often designed to amplify sound, while a museum is structured tocreate a flow that enhances the visitor experience. If I were to change my journalentries, I would add more examples of buildings where the shape clearly helpsits purpose. I’d also explore how different materials and textures can impact theoverall effect of the shape and form. I like that my journal talks about howgeometric shapes bring order and how natural, flowing shapes feel connected tonature. Understanding how shapes and forms affect people has made meappreciate design more. These ideas about balancing beauty and function areimportant, especially in creating spaces that people feel comfortable in andenjoy using. I’m excited to keep learning about them and how different culturesapproach shapes and forms in their architecture. There’s so much to explorewhen it comes to how design impacts our daily lives, and I’m eager to continuediscovering new ways that shapes and forms influence our experiences.REFLECTION ON FORMS & SHAPES Fig. 34 REGULAR & IRREGULAR FORMSPart B: Final Journal Submission_Sharmin Jahan
PART 3: FORM AND SPACE12Part B: Final Journal Submission_Sharmin Jahan
13It is often said that architecture is the combination of spaceand form. Space encompasses the volume of a structure,the parts of a building we move through and experience.But space can only be created through the use of form.Form is the mass, or grouping of materials, used to give abuilding its shape.Another way to look at this is in terms of positive andnegative space. Positive space has mass. It can be anenclosure or solid boundary with a specific shape. The areain between, which has no visible mass, is what we refer toas space. Architecture occurs at the point where form andspace come together.FORMS AND SPACE IN ARCHITECHTUREFig. 36FormFormFormSpaceFormFormFormSpaceFormFig. 37 Kitchen, GoogleFig. 35 Salk Institute, United StatesFig. 38 FormFormSpacePart B: Final Journal Submission_Sharmin Jahan
14FORM DEFINING SPACEIn Architecture: Form, Space, and Order, Francis D.K. Ching explains "form defining space" as the wayphysical shapes create boundaries and structure, shaping our experience of a space. Vertical elements, likewalls and columns, are especially effective at defining space because they stand upright, are highly visible,and give a sense of enclosure and separation.A single vertical plane, like a wall, defines space by marking one edge, establishing a boundary. Two wallsarranged in an "L" shape create a corner that directs our focus outward from the corner along an open axis.Parallel planes, or two facing walls, define a space between them, often guiding our view and movementalong this area. A U-shaped arrangement of walls encloses space on three sides, offering containment whilestill connecting to surrounding spaces. Finally, four connected walls create a completely enclosed area,forming a room with clear boundaries on all sides.These arrangements illustrate how vertical elements—through different configurations—organize space,establish boundaries and influence how people perceive and move through spaces.Fig. 42 Farnsworth House, USAFig. 43 Bedroom, PinterestFig. 39 Kitchen, PinterestFig. 40 Vietnam Veterans Memorial, U.SFig. 41 Living Room, PinterestPart B: Final Journal Submission_Sharmin Jahan Enclosed AreaParallel PlanesU ShapeSingle Vertical PlaneU Shape
15REFLECTION ON FORMS & SPACE Thinking about Forms and Space has helped me see how shapes in buildingscreate the mood and feeling of a place. Forms aren’t just shapes. They guidehow we feel and move through spaces. For example, tall, vertical buildings, likeskyscrapers, make us think of power and modern life. These structures standout, reaching toward the sky, and often give us a sense of ambition andprogress. In contrast, low and wide buildings feel calm and grounded. Theyseem more approachable and less intimidating. How light hits different shapesduring the day changes a space’s atmosphere too, making it feel warm, bright, orcozy. The way light interacts with forms brings out textures, shadows, andreflections that add depth to the experience of being in a space. Looking back atmy journal, I realize I focused more on describing forms rather than talkingabout their emotional impact. Now I would add how shapes and light worktogether to make a space feel alive and change over time. The atmosphere of aroom can shift depending on the time of day or the weather outside. One thing Ido like from my journal entry is how I talked about balance mixing shapes. Thismix is important in design because it affects how we feel and connect with aspace. Architecture is about more than just walls, it shapes our feelings andexperiences every day. It’s not just about creating a structure but designing anexperience for those who live in or visit it.Fig. 44 Living Room, GooglePart B: Final Journal Submission_Sharmin Jahan
16Reflecting on my journal entry about design, I've gained a deepappreciation for foundational elements: line, shape, form and space.Each element uniquely contributes to the structure and beauty of acomposition. Lines guide the viewers eye, creating flow and definingboundaries. Shapes, with their recognizable outlines, ground thedesign, while forms, emerging from adding depth to shapes, addrealism and dimension. Space, the area around and between elements,provides balance, ensuring the composition isn’t overcrowded. Thisexploration taught me that these elements must work harmoniously.Lines for example, aren't merely boundaries. They direct the viewersjourney through the design. Shapes and forms together establish focalpoints that make designs functional and compelling.In the end line, shape, form and space aren’t just isolated components,they are the essential tools that bring a design to life. In architecture,art or product design, thoughtful use of these elements yields acomposition that’s both beautiful and purposeful.CONCLUSIONFig. 45 PinterestPart B: Final Journal Submission_Sharmin Jahan
17IMAGE REFERENCEFigure 1, 2 and 3https://vanseodesign.com/web-design/visual-grammar-lines/https://vanseodesign.com/web-design/visual-grammar-lines/Figure 5Figure 4https://edu.gcfglobal.org/en/beginning-graphic-design/fundamentals-of-design/1/Figure 8https://insidetheperimeter.ca/pi-kids-rainbows/Figure 6 and 10https://www.publishersweekly.com/pw/by-topic/industry-news/tip-sheet/article/69882-the-beauty-of-patterns-in-nature.htmlFigure 7https://foyr.com/learn/types-of-staircasesFigure 11https://www.instagram.com/aartfinesse/https://webflow.com/blog/what-is-a-lineFigure 12 and 13https://webflow.com/blog/what-is-a-linehttps://foyr.com/learn/how-to-use-line-in-interior-designFigure 14https://dubbeldam.ca/https://dubbeldam.ca/projects/skygarden-house/Figure 17, 18, 19 & 20Ching, F. D. K. (2014). Architecture: Form, space, and order (4th ed.). Wiley.Figure 17, 18, 19 & 20Ching, F. D. K. (2014). Architecture: Form, space, and order (4th ed.). Wiley.Figure 22https://www.archdaily.com/441358/ad-classics-walt-disney-concert-hall-frank-gehryFigure 23https://www.britannica.com/topic/ColosseumFigure 24, 25, 26, 27, 28 & 29https://www.whereisthenorth.com/article/5-types-of-forms-in-architecture-with-examplesFigure 30https://archeyes.com/oct-chaohu-natural-and-cultural-centre-by-change-architects/Figure 31https://archeyes.com/wangjing-soho-zaha-hadid-architects/Figure 32https://archeyes.com/the-tianjin-binhai-library-by-mvrdv-fusing-culture-architecture/Figure 33Ching, F. D. K. (2014). Architecture: Form, space, and order (4th ed.). Wiley.Figure 34https://architecturecourses.org/design/architectural-shapes-and-forms-how-they-define-our-spaces#toc-the-importance-of-form-in-shaping-functionFigure 35https://www.archdaily.com/61288/ad-classics-salk-institute-louis-kahnFigure 36Draw by Sharmin JahanFigure 37GoogleFigure 38https://www.whereisthenorth.com/article/5-types-of-forms-in-architecture-with-examplesFigure 39https://ca.pinterest.com/pin/478789004154365206/Part B: Final Journal Submission_Sharmin Jahan Figure 21https://www.rostarchitects.com/articles/2023/1/6/the-louvreFigure 15Created by Illustrator, Sharmin Jahan
IMAGE REFERENCEFigure 40https://en.wikipedia.org/wiki/Vietnam_Veterans_MemorialFigure 41https://ca.pinterest.com/pin/67342956919223865/Figure 42https://en.wikipedia.org/wiki/Farnsworth_HouseFigure 43https://ca.pinterest.com/pin/153755774771924408/Figure 44GoogleFigure 45https://ca.pinterest.com/pin/908953137839488986/Figure 46https://www.occreates.com/guide-to-visual-elements-part-1-line/Part 2 Cover PageCreated by Illustrator, Sharmin JahanTEXT REFERENCEParks, J. A. (2014). Universal Principles of Art: 100 Key Concepts for Understanding,Analyzing, and Practicing Art. Beverly, MA: Rockport Publishers.Ching, F. D. K. (2014). Architecture: Form, space, and order (4th ed.). Wiley.Sullivan, L. (1896). The tall office building artistically considered. Lippincott's MonthlyMagazine, 57, 403–409.Parks, J. A. (2014). Universal Principles of Art: 100 Key Concepts for Understanding,Analyzing, and Practicing Art. Beverly, MA: Rockport Publishers.18Part B: Final Journal Submission_Sharmin Jahan Part 3 Cover PageGoogle