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Vastuworld Healthy Design Series: Guidelines for true Architecture :Module2: Form and Shape imply space: indeed they can not exist with out space . Form and shape are areas or masses which define objects in space. There are various ways to categorize form and shape. Form and shape can be thought of as either two dimensional or three dimensional. Two dimensional form has width and height. It can also create the illusion of three dimension objects. Three dimensional shape has depth as well as width and height. Form and shape can also be described as either Organic or Geometric. Two Dimensional Form : Two Dimensional Form is the foundation of pictorial organization or composition in painting, photography, and many other media. It is created in a number of ways. It can be defined by line, in all the ways described above Line, either explicit or implied provides the contour of forms. Value (the elative lightness or darkness of a color) can also define form Strong contrasts in value within a composition may define the boundaries of forms Gradations of value, or shading, can also create the illusion of contour and volume. Form in relation to Positive & Negative Space: Forms and shapes can be thought of as positive or negative. In a two dimensional composition, the objects constitute the positive forms, while the background is the negative space. For beginning art and design students, effective use of negative space is often an especially important concept to be mastered. This exercise in cut paper required the student to work with the same composition in black on white and white on black simultaneously this makes it difficult to ignore the background and treat it as merely empty space the effective placement of objects in relation to the surrounding negative space is essential for success in composition. Vedic Form Vastu-Purush-Mandala is a grid of squares. The square regarded as perfect figure, is conceived to be a fundamental form in architecture and all other shapes are derived from it. Tradition prescribes 32 types of mandalas. It progresses from a plan of one square to one with 1024 sub-divisions. In the square frame of these mandalas the square in the centre is presided over by the supreme principle known as Brahma. Encircling it are a number of squares known as PADAS. The Modular Le Corbusier developed his proportioning system, the modular, to the order “the dimensions of that which contains and that which is contained”. He saw the measuring tools of the Greeks, Egyptians and other high civilizations as being “infinitely rich and subtle because they formed part of the mathematics of the human body, gracious, elegant, and firm, the source of that harmony which moves us, beauty”. He therefore based his measuring tool, the modular, on both mathematics (the aesthetics dimensions of the Golden Section and the Fibonacci Series), and the proportions, of the human body (functional dimensions). Form of Feminity Organic architecture is a living tradition that is taking on new and exciting directions. It is not a unified movement but is diverse, perverse, contradictory, and mercurial. Always controversial and difficult to pin down, it is best experienced "in the round" with all one¹s senses by visiting real buildings. Sometimes called "the other tradition", it has a long and celebrated history. Organic architecture is rooted in a passion for life, nature, and natural forms, and is full of the vitality of the natural world with its biological forms and processes. Space and Distance: Abstract and meaningful distance. The fundamental needs to be recognised aspects of the language of space and in particular the meaning of distance. Like space, distance is not the abstract measure so often assumed in theories of architecture, it is not the purely geometrical that is important but rather the way that geometry organizes our relationships. In any situation or behavioral setting, the distances between people are seldom accidental or arbitrary. We have a common understanding of those distances that are appropriate and those that are not for all the normal settings which we find ourselves, at least within our own culture. However, most interpersonal distance is not just a matter of social convention but is based on the essential characteristics of our ability to detect fellow member of our species. Much of the research that gave rise to the more formal theories about these distances was originally conducted not on humans but on animals. This 'ethological' work is valuable in that it gives us a way of looking at ourselves, but dangerous in that we are clearly much more complex beings than most animal species. The study of the way animals use distance in their natural habitat reveals more directly some of the fundamental characteristics of spatial behavior than does trying to watch us humans in our complex societies and highly technological habitats.    
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