Form and Structure in Design

Posted on Sep 14, 2024 in Geology

Concept of Form

The word form may have different meanings, such as contour or volume (in sculpture and architecture). Plotinus’ philosophy differentiated external form as all the material elements of the object that we touch and see. He defined it as the internal organization of the parts, with each governing the provision of essential services (external form) and giving it unity.

We highlight the following:

Material Form

It is also known as fitness and is determined by the visual appearance of the object’s boundaries, either a volume (a building) or a plane (a leaf). The vision of an object is not always the same; it depends on the lighting, position, and prior knowledge you have of the object observed.

Form and Structure

When one considers how structure must take into account multiple factors in addition to those seen with the naked eye, Rudolf Arnheim said that the visual symbols or any carrier of any meaning, as are the representative forms, must obey some order or structure to be recognizable by the observer.

Structural Study of Construction

A building structure is called a set of elements capable of supporting weights and loads without breaking and with little deformation. Its function is to transmit forces from one point to another in space, resisting without losing stability. It is a way to get more resistance with less material, i.e., the economic structure. If it were not for this, it would fall under its own weight as it would apply lightly, losing more mass and stability.

We can distinguish two types of structures: natural and artificial. The natural ones are those found in nature, like a tree, the skeleton of a vertebrate, etc. Man-made structures are those created by man, such as buildings, bridges, etc.

A structure, at the time of being designed, must satisfy three main properties: to be resistant to withstand, without breaking, the effect of the forces to which it is subject; hard to do so without deforming; and stable to maintain balance.

Efforts of the Structures

The elements of a structure must withstand their own weight in addition to other forces and external loads acting on them:

Compression: Occurs when a structure is deformed by shortening and widening. That is, parallel to the effort, faces tend to separate, and they tend to bind perpendicular to it. Structures that can withstand such forces tend to be short, thick, and heavy.
Traction: This force is opposite to compression. The forces acting on the structure are directed outwards, elongating the object. For this type of structure, materials resistant to traction and support are used to be hung, like weights or lift cables on suspension bridges, etc.
Flexion: Is the action that a structure experiences when a force incident upon it temporarily bends or stoops it. This happens in rafters, tables, etc.
Torque: When a torque acts on a structure, its axes rotate in opposite directions, twisting the structure. This happens when tightening a screw or the keys of a lock.
Shear: When two opposite parallel forces act on a body but are slightly separated, they cut or tear the structure, causing it to slide or move one part over another. This happens, for example, when using shears or pliers.

Constructive Elements

Structures consist of several elements in charge of providing good resistance to withstand the loads to which they might be subject. These are:

Foundation: Is the basis on which a building rests. It is made from sand, gravel, and wire mesh (concrete). Compression force acts on this element.
Pillars: These vertical elements, which are supported on the pads, have the function of supporting the weight of the beams and other weights, transmitting compressive forces to the ground. When presented cylindrically, they are called columns.
Partitions and Walls: These are thin elements placed vertically. Walls, in contrast to partitions, are thicker and longer.
Beams: Because the bulk of the loads are vertical in a building, horizontal elements are used to transmit vertical loads horizontally using bending forces. These are usually made of reinforced concrete or wood. If they are shorter and placed crosswise, they are called joists, which, together with the beams, give rise to the floors of the buildings.
Straps: These are elements that support tension, stretching, and holding the weights, giving rigidity to the structure. Cables are usually made of steel. On a cable-stayed bridge, the cables are fixed to the deck at one end and to a pillar or tower at the other. These elements are responsible for maintaining high vertical elements like poles and cranes. They can be further tightened by turnbuckles.

Depending on the way the cable is supported, it is called one way or another. When it takes the form of a funicular polygon, it is called a catenary curve. This is the form it takes when dropped under its own weight. But if the load is evenly distributed in horizontal projection, the catenary curve no longer takes the form of a parabola.

Arches: This is one of the oldest architectural solutions used throughout history. It consists of an upturned section that rests on some supports and covers a gap. This element supports a load, leaving an open space underneath.
Triangles: The most stable geometric figure is not distorted by external forces acting on it. When grouping a set of triangles, a stable frame with rigidity results. There are several types: Pratt trusses, Howe, Warren.
Sheets or Plates: These are used to cover buildings or car bodies. These are surfaces.

Structural Systems

There are four types of systems:

Systems that are actively working in tension or compression: These are widely used because they are an economical way to cover considerable light spaces.
Active vector systems: When a system is composed of linear elements such as trusses or load-bearing systems, they are called active vector systems.
Active mass systems: These are composed of elements that work in bending, such as beams, pillars, and porches.
Active surface systems: This is a structure that transmits external forces using the continuity of a surface, like a plate or laminar structure.

Natural Forms as a Basis for Formal Generation and Design

The study and analysis of nature as inspiration for design consists of two fundamental processes: analysis and synthesis.

Analysis consists of breaking down and solving the premises that generate things, which tend to make us go back to the origin.
Synthesis follows analysis and is usually done after it. It is a deconstruction of a whole from its elements. Not all elements need to be prioritized if you do not believe they are important and significant.

Natural forms are those that purport to represent elements of nature (plant, animal, or mineral). We can also say that a design is to be used naturally when it was made for a specific function.

Artificial forms represent things made by man.

Natural materials are those that come from nature directly, such as natural fibers, recycling, and reuse of the native.

Materials used naturally: We believe that a material is used naturally when you use it as it is without trying to conceal its true appearance, regardless of the material.

Bionics

Bionics is the analysis of the actual functioning of living systems and their tricks. Once discovered, everyday designs or apparatus materialize. Leonardo da Vinci is considered the first bionicist, and he applied his studies of nature to almost all his designs.

The main characteristics of such systems are the miniaturization and their high degree of flexibility, being able to adapt to any environment. Among the most striking examples are animal skeletons.

The Golden Section

The golden section, also called the golden ratio, is a compositional scheme formulated by the mathematician Luca Pacioli. He argued that it was a structure present in several structures of nature, such as the branches of trees, the arrangement of flower petals, etc.

Technically, it is the division of a segment at its extreme right, as Euclid described it. He wanted to say that if there are two segments, the largest of which is the whole, the formula would be a / b = (a + b) / a = 1.618…, resulting in the number phi or golden number.

Form and Function

Form follows function when the form is due to the content that the message is intended to convey. That image has to ensure the message is properly handled. So it is in the design where form follows a necessity.

Functionalism is an aesthetic theory that posits that the source of beauty is the adaptation of form to function, resulting in objects adapted to their purpose.

Structure

All types of shapes are flat or contain a basic volume, visible or hidden, where all the formal elements are organized and relate to each other. This is what we know as the structure. It is the skeleton behind the interweaving of the organization, giving unity to all parts of a whole.

In design, according to the components of a structure, we can distinguish between formal, informal, or semi-formal structures.

Formal Structure

Its structural lines are rigid. This formation will guide the design, so the space is divided into subdivisions rhythmically, giving a sense of regularity. Its types are: repetition, gradation, radiation.

Repetition

This type of structure is seen when it is subdivided into equal parts of the same size. This type is the simplest of all, and its grid is composed of vertical and horizontal lines that intersect with square subdivisions of the same size and the same amount of space. But it can also derive from this grid:

Change of position or size: The branches that used to be rectangular or square can now create a horizontal and vertical balance, giving the impression of greater emphasis.
Change of address: Horizontal and vertical lines can be tilted at any angle, causing a sensation of movement.
Displacement: Subdivisions of the grid are moving from right to left or from top to bottom and vice versa.
Bending or breaking: All the lines that form the structure, or only the vertical ones, can be bent or broken structurally and regularly, keeping the same shape and size.
Reflection: Each row of subdivisions can be repeated alternately or regularly.
Combination: Occurs when creating larger or more complex forms that have to be the same size and fit together.

The triangular lattice is obtained when the structural lines are inclined, allowing new subdivisions that will lead to the triangular lattice.

The hexagonal grid: By combining six adjacent triangles of a triangular lattice, a hexagonal lattice results. It can be distorted, stretched, or compressed.

Multiple repetition structure occurs when a structure is composed of more types of structural subdivisions that are repeated in shape and size.

Repeating modules: Their presence tends to unify the design. They should be placed alongside each other, being simple. If they were too complex, they would be appreciated as individual forms rather than a whole.

Super-module and submodules: Submodules are the smallest components that may comprise a module, and when these are grouped in large quantities, they will result in a super-module.

Repetition rates can repeat the address, size, color, and space position.

Gradation

Gradation means we change a module in a phased manner by modifying the texture, address, etc., creating the feeling of progression and generating an optical illusion.

Gradation in the level: This relationship between the modules is constant and does not change in size. There are two classes:

Rotation in the plane
Progression in terms

Spatial gradation affects the figure, and the size is never constant. There are two classes:

Rotation space: Where the module can be rotated so that every time we see a little more edge and a little less front.
Progression space: Is equal to resizing it. It gives the impression of a progression in space. It is the parallel planes.

Gradation in the figure refers to the sequence of gradients that result from a real change in the figure. There are two classes:

Union or subtraction: Indicates a gradual change from one module when you link it gradually or subtract a module in the same way.
Tension or compression: Indicates the gradual change in the form of modules for internal or external forces that appear as if they were elastic.

The path of gradation defines that any figure can be gradually changed into another, as in the circle that can be stretched into a square.

The graduation rate depends on the number of steps we will take for that figure to become another.

Grading structures: Such structures are not repetitive and change size, shape, or size and shape in gradual sequences.

Gradation in alternation can be achieved when a module changes from left to right in a row or the other way around.

Radiation

These structures are composed of two factors: the radiation center, formed by the focal point from which the rolling develops, and the direction of the gradient concerning the structural lines. We have three types:

Centrifuge: Where the structural lines radiate from the center regularly from nearby in all directions.
Centripetal: Structural lines are pressed into the center using structural sequences of broken lines or curves.
Concentric: The structural lines around the center in a regular layer.

Structural superposition of radiation means that radiation types may overlap to achieve a more complex composition.

Semiformal Structure

It is characterized by a lack of strict regularity of repetition while maintaining a sense of regularity. There are three types:

Similarity: Occurs when the forms belong to a common classification or are related, whether the relationship can be determined by spatial distortion, voltage, or imperfection association.
Nursing: Modules are arranged to suggest a very controlled movement and progression.
Anomaly: Is the presence of irregularity in a design in which regularity prevails. It is intended to relieve monotony.
Concentration: Is the squeezing or crowding of modules in certain parts of the design for a concentration effect. Types include concentration to a point, from one point to a line, from a line, and free concentration.

Informal Structure

It has no structural lines. Often, the organization is free and unlimited.