Form, space and voids are the basic elements used in architectural design process.

Voids are simply

spaces that define forms. They turn monoliths into complex shapes giving it a dynamic edge. Voids take
away the rigidity and imposition of monoliths and make the form more aesthetically appealing
because of its dynamic nature.
The human psyche as a factor of evolution has always been influenced by moving things as they
project the essence of the living beings. Hence in todays era, with the ever evolving technological
interface, it is essential that the building forms become interactive too. When we see a dynamic
structure its aesthetic appeal increases.
When we take a look at a customary Japanese parchment or emaki-mono, time is solidly present as
our eyes take after a succession of spatial occasions hindered by composing. Nothing could be more
impeding to the planned story procedure than a full synchronous presentation of the look in general. In
customary Japanese works of art of royal residences in the fukinuke-yatai or "cleared out housetop"
system, time turns out to be a piece of our spatial experience as our eyes need to move from scene to
scene in different adjoining spaces.
Negative space is the empty or open space around an object that defines it. it is the breathing room
around the subject that determines how appealing it looks. The majority of people dont like it when
designs are too crowded. Giving your subject and other objects plenty of negative space gives them
much more definition. Design elements dont visually melt into a single large blob. Instead, elements are
broken down into sections, making them easier to process the information in discrete chunks. This is much
easier that trying to process the entire design and all of its parts at once.
It has been noted that we connect to building that are in sync with our size. Hence monolithic
architecture has always been seen as imposing and overwhelming. Therefore, today we connect more
with deconstructive architecture as it breaks down surfaces and volumes at our level making it more
interactive.
These methods of translating positive and negative spaces of two dimentional art into solids and void
volumes of 3 dimentional buildings has been explored extensively in two movements: cubism and
deconstructivism.
Dissimilar to traditional still-lifes and portrait paintings, cubist paintings aren't meant to be realistic or
life-like in any way. Rather, after looking at the subject from every possible angle, the artist will piece
together fragments from different vantage points into one painting. In doing this, the artist is
attempting to give a fuller, more detailed explanation of the subjectbreaking past barriers of space
and time, like in the famous painting by Marcel Duchamp entitled nude descending a staircase. This
type of cubism is called analytic cubism, and it's usually what comes to mind when people think of
cubist artwork.

In Deconstruction architecture, the uneven and three dimensional volumes extruded or voided makes us
more susceptible to the psychological and emotional effects of the place. In works of Zaha Hadid,
organic forms and cognitive voids have been extensively used in order to make the buildings look more
exciting. For example Parc De La Villette has deconstructed cubic volumes that make the park more
interactive.
This dissertation will build towards whether volume manipulation of form which makes the building more
interactive in nature. The study shall compare negative and positive space in art that translates to
volume and void in architecture 3d interface as architects get inspired by art movements. In this paper,
the importance of voids and the perfect balance between the solids and voids will be explored with
respect to multiple case studies while focusing on building whose form makes it look like a fluid moving
entity.