Dissertation - Studying the expression of Organic Geometry in the architecture of Laurie Baker

A Dissertation / Architectural Project (Part I) report on

Studying the expression of organic geometry in the architecture of Laurie Baker

Submitted to the Savitribai Phule Pune University in partial fulfillment of the requirements for the IV B. Arch. ( 2008) course

By

Patwardhan Avani

Under the Guidance of

Ar. Asmita Patwardhan

VIT’s P.V.P. College of Architecture, Pune Savitribai Phule Pune University

April 2016

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Vivekanand Institute of Technology’s

Padmabhushan Dr. Vasantdada Patil College of Architecture, Address: 274/2, 275/2, 282, AdityaNisarg At. Pirangut, Tal. Mulshi, Dist. Pune - 412115 Tel:020-20291299, 20291308, email:pvpcoapune@gmail.com,web:www.pvpcoapune.com,blog:www.pvpcoapuneblog.blogspot.com

Certificate

I hereby certify that the work which is being presented in the Dissertation titled “Studying the expression of organic geometry in the architecture of Laurie Baker,” in partial fulfilment of the requirements for the Fourth Year Bachelor of Architecture (2008) course (IV B.Arch.) submitted in VIT’s Padmabhushan Dr. Vasantdada Patil College of Architecture, Pune is an authentic record of my own work carried out during the period from June 2015 to April 2016 under the supervision of Ar. Asmita Patwardhan.

I declare that the work submitted is my own research and wherever I have incorporated any information, data, maps, graphics, etc. from different sources, it has been duly acknowledged.

Patwardhan Avani

This is to certify that the above statement made by the Candidate is correct to the best of our knowledge.

Ar. Prof. Prasanna Desai Director, PVPCOA The Candidate has appeared for the examination held at the Vivekanand Institute of Technology’s Padmabhushan Dr. Vasantdada Patil College of Architecture, Pune, Savitribai Phule Pune University.

…………………….

……………………..

Dissertation Guide

External Examiner

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Acknowledgement

I would like to take this opportunity to extend my sincere thanks towards all the people who have helped me in carrying out this dissertation.

I would like to thank Ar. Asmita Patwardhan for her valuable insights and constant supervision, and for giving me such attention and time. Without her guidance and persistent help, this dissertation would not have been possible.

I would also like to express my gratitude towards Ar. Narendra Dengle for his useful comments and remarks which encouraged me to carry out this dissertation with enthusiasm.

In addition, a thank you to Ar. Prasanna Desai, the Director, PVPCOA, for providing me with all the necessary facilities.

My thanks and appreciation also goes to my fellow college students whose direct or indirect support has helped by keeping me in tune with the topic.

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TABLE OF CONTENTS Studying the expression of organic geometry in the architecture of Laurie Baker ...................1 TABLE OF CONTENTS ..............................................................................................................4 ABSTRACT .................................................................................................................................5 INTRODUCTION.........................................................................................................................6 1.1 AIM ..................................................................................................................................6 1.2

OBJECTIVES .................................................................................................................6

1.3

SCOPE OF STUDY .......................................................................................................6

1.4

LIMITATIONS ...............................................................................................................6

1.5

METHODOLOGY .........................................................................................................7

1.6 INTRODUCTION..............................................................................................................8 1.6 (1) ORGANIC GEOMETRY .....................................................................................8 1.6 (2) PRINCIPLES OF GEOMETRY...........................................................................9 1.6 (3) LAURIE BAKER ...............................................................................................11 2.1 CASE STUDIES ..............................................................................................................12 2.1 (1) COMPUTER CENTRE at CDS (Centre for Development Studies, Trivandrum) ............................................................................................................................12 2.1 (2)

MEN’S HOSTEL at CDS, Trivandrum ............................................................13

2.1 (3) WOMEN’S HOSTEL at CDS, Trivandrum .....................................................14 2.1 (4)

CHITRALEKHA FILM STUDIO, Trivandrum ...............................................15

2.1 (5)

CORPUS CHRISTI SCHOOL, Kottayam .......................................................16

2.1 (7)

HOUSE FOR P. RAMACHANDRAN, Trivandrum........................................18

2.1 (8)

HOUSE FOR K. J. MATTHEW, Trivandrum ..................................................19

2.1 (9)

HOUSE FOR VARGHESE JACOB, Kottayam ...............................................20

2.1 (10)

Other significant examples .............................................................................21

INFERENCE ...........................................................................................................................25 TABLE OF FIGURES ................................................................................................................28 TABLE OF IMAGES ..................................................................................................................31 BIBLIOGRAPHY .......................................................................................................................32

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ABSTRACT Architectural design is an art which deals with playing with forms and spaces and relating these elements to one another. Geometry being the science of forms, contributes to the composition and design of elements of architecture. The characteristics of these forms and spaces such as their proportions, angles, and transformations and the relation between them can be determined by geometry. Hence, the study the of geometry, its types, and its application is the key to understand designs based on geometry.

There are many examples of architecture which are designed with different expressions of geometry, for example, the use of golden ratio in architecture, the Fibonacci series, the symmetry and proportion as recommended by Vitruvius, or use of sacred geometry, etc. This paper sheds light on the concept and application of organic geometry used in architecture.

Organic Geometry concerns itself with geometry that can grow and develop not only in terms of form but in terms of the basis or concept of design. Thus, the forms and spaces designed using organic geometry are derived from a basic concept, and this concept develops as the design proceeds. Hence these elements of design relate and blend with each other.

Form specific geometry comprises of three different shapes, the square, triangle, and rectangle,and on combining these three shapes using the principles of geometry we will achieve various different complex forms. Hence this type of geometry is said to evolve, and unfold as we move through it, and hence, designs based on organic geometry look lively and active and not rigid.

The application of organic geometry in design can be simplified by the study of principles of geometry involved in this process. Principles are visual devices that allow the varied diverse forms and spaces to coexist perceptually and conceptually within an ordered, unified, harmonious whole.1 They guide in avoiding confusion and havoc, and adding balance in design. These principles are also called ordering principles or order.

This paper is a study of the application of these principles in the architecture of Laurie baker, which will help to learn how organic geometry can be used in design.

Keywords: (Geometry, architectural composition, forms and spaces, Organic Geometry, complex forms, evolve, lively and active, principles of geometry, balance in design, ordering principles) 

1

Architecture - Form, Space, And Order by Francis D.K. Ching, third edition !5

INTRODUCTION 1.1 AIM Understand how geometry can be used in architectural design for improving the aesthetic and visual quality of space.

1.2

OBJECTIVES 1. Understand what constitutes organic geometry and its what its fundamental principles are.

2. Analyse the how the use of organic geometry affects the design.

3. Study and analyse the use of organic geometry in Laurie Baker’s Architecture by applying principles of geometry and deriving the organic geometry embedded in them.

1.3

SCOPE OF STUDY

The paper will focus on different aspects of design to which geometry can be applied. The aspects involved in the area of research mainly include plans, elevations of building, elements used for aesthetic purposes, edges of structures, roofs, etc, within structures that are low rise, non-commercial and low cost.

1.4

LIMITATIONS

This research limits the analysis of geometry in Laurie baker’s works. Also, only the visual aspect of geometry in design is studied. As there is a significant amount of extension of geometry to structures that can be studied with respect to various aspects of design, they are eliminated from the scope of this paper.

There are many examples of different types of geometry used in the design process, however this paper limits itself to the study of organic geometry.

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1.5

METHODOLOGY

STUDYING THE EXPRESSION OF GEOMETRY IN THE ARCHITECTURE OF LAURIE BAKER

UNDERSTANDING philosophy of Laurie Baker’s architecture

UNDERSTANDING meaning of organic geometry

DATA COLLECTION SOURCE: 1. Books 2. Websites

ABOUT 1. Organic Geometry 2. Architect’s work (for carrying out case studies) DATA ANALYSIS APPLY STUDY OF GEOMETRY IN CASE STUDIES

ANALYSE DRAWINGS

GROUPING ALL DATA

INFERENCE / CONCLUSION

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1.6 INTRODUCTION 1.6 (1) ORGANIC GEOMETRY ORGANIC GEOMETRY refers to geometric forms that can grow and develop according to the principles of geometry. Organic Geometry in architecture is often confused with organic architecture. Also, the meaning of organic geometry is usually misinterpreted by geometry which has evolved from natural forms or geometry which involves use of various curves, etc.

However, designs which has evolved using the principles of geometry are said to be based on organic geometry.

Thus, to study organic geometry, it is necessary to study the principles of geometry. It is necessary to apply such principles of geometry to avoid confusion in design, and these principles are called ordering principles or order.

ORDER WITHOUT DIVERSITY CAN RESULT IN MONOTONY OR BORDOM; DIVERSITY WITHOUT ORDER CAN PRODUCE CHAOS. A SENSE OF UNITY WITH VARIETY IS THE IDEAL.1 Order does to refer simply to geometric regularity, but it helps to achieve a harmonious agreement among the components of design.1

1

Architecture - Form, Space, And Order by Francis D.K. Ching, third edition !8

1.6 (2) PRINCIPLES OF GEOMETRY Principles are certain design norms which can be used as guidelines in a design process.These principles when applied to forms and spaces in architecture help them to relate to each other and appear as a whole. This makes the design aesthetically and visually pleasing.

Given below are few examples of these principles : 1. Axis - An axis is an imaginary line in space along which objects can be arranged. It is not necessary for the design to be symmetrical on both sides of the axis, however, a balance in design should be depicted through the axis

Figure 1: Axis; Source : Architecture-Form, space and order

2. Symmetry - An composition of elements along an axis, line or plane such that both sides have the same forms and spaces in the same arrangement and position which gives a clearbalance on both sides is Symmetry.

Figure 2: Symmetry; Source : Architecture-Form, space and order

3. Hierarchy - In any architectural composition, there is always a visual difference between forms and spaces. This difference is usually due to the functional or symbolic role those elements play in the design. The visual emphasis can be achieved by endowing a form or shape with exceptional size, unique shape, and/or strategic location.1

Figure 3: Hierarchy; Source : ArchitectureForm, space and order

1

Architecture - Form, Space, And Order by Francis D.K. Ching, third edition !9

4. Rhythm/Repetition - Rhythm refers to the re-occurrence of the same elements in regular or irregular intervals. This thus, gives a movement and flow to any composition. The repetitive elements need not be identical each other. They can also share some common trait or be grouped in a repetitive manner.

Figure 4: Rhythm; Source : Architecture-Form, space and order

5. Datum - A datum is a frame of reference in which the other elements in the composition can be arranged and can relate to it. A datum need not necessarily be a straight line, it can also be planar or volumetric in form.

Figure 5: Datum; Source : Architecture-Form, space and order

6. Transformation - Transformation is a method or concept in which the organisation or composition is altered under certain condition without loss to its original concept or identity.

Figure 6: Transformation; Source : Architecture-Form, space and order

To understand and learn how organic geometry can be applied in design using these principles, it is necessary to study examples of the same. The use of organic geometry in design can be seen in many of Laurie Baker’s projects. Hence, this paper also involves understanding Laurie Baker’s architectural Philosophy and how he has incorporated Organic Geometry in his design. 

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1.6 (3) LAURIE BAKER Laurie Baker was born on March 2, 1917, and is one of the very few architects, who has had the opportunity to work on such a variety of projects ranging from fishermen’s villages to institutional complexes and from low-cost mud housing schemes to low cost cathedrals.

Influenced by Mahatma Gandhi and his own experiences in the remote Himalayas, he promoted the revival of regional building practices and use of local materials. He has worked in india for over forty years and in Trivandrum alone he has built over a thousand houses.

Besides this, his work includes forty churches, numerous schools, institutions and hospitals.

Laurie Baker, draws creativity from the environment in which he works, absorbing vernacular patterns of construction and individual styles of living.

Laurie Baker is well known for designing low cost, high quality, beautiful buildings built using vernacular materials.He has worked mostly for lower middle to lower class clients.

Masonry construction in quite vivid in his buildings with an extensive use of brick jaalis which provide privacy to certain spaces, as well as invite natural air flow through them thus cooling the interior spaces of the building. These jaalis also create intricate patterns of light and shadow which change throughout the day according to the sun movement, thus making these spaces lively.

Laurie Baker has used curved walls in many of his building as a means to enclose more volume at lower material cost than straight walls, and according to him, “ building became more fun with the circle.”

Laurie Baker’s work is an effective demonstration of his own strength, his own interpretation of tradition, technology, and lifestyle.

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2.1 CASE STUDIES 2.1 (1) COMPUTER CENTRE at CDS (Centre for Development Studies, Trivandrum) This is a double-walled building with an outer surface of intersecting circles of brick jaalis.

The two storey-high outer wall of single brick thickness is stiffened by a series of intersecting circle segments; the mid level slab is also fused into it for additional support. The pattern of perforations, across the four faces of the building are like computer punch-outs and so suggestive of the functions they house

Figure 7: Plan of Computer Centre at CDS; Source: Laurie Baker : Life, Works and Writings

• The building has two large curved walls on both sides, and on deriving the centre point of each arc, it is found out that they share the same centre and pass through the same circle.

That is the entire plan of the building can be inscribed in a circle.

• Also, the plan includes an arc which passes through the two main areas of the building, i.e. the classroom and the work area. The centre point of the circle to which this arc belongs is derived, and an axis passing through these two centres points is drawn. It is found out that the wall dividing the two area is parallel to this axis.

• Another coincidence is that the ratios of the diameter to the segment, of the bigger circle to the circle to which the arcs in the outer wall of the building belong, are in proportion.

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24M

Y Figure 7 (a) : Plan showing building outline

Graphic by : Author

X

2 0 .5 M

C

A

1.5M 1.3M

B

Figure 7 (b) : Centre points of arcs AB and CD coincide

D Graphic by : Author

Figure 7 (c) : Centre points of both circles

Graphic by : Author

Figure 7 (d) : Figure showing axis which passes through centre points of both circles

Graphic by : Author

24

1.5

20.5

1.3

1.1

Figure 7 (e) : Figure showing the ratios of the diameter to the segment

Graphic by : Author

2.1 (2)

MEN’S HOSTEL at CDS, Trivandrum

The men’s hospital is designed with an economic view and it is expressed in the organisation of the plan, the nature of construction and the materials. Eight rooms in a single file open onto a verandah, and four stacked floors give a formidable linear shape to the plan. Each room is entered from a rear corridor built into the shared walls. The circulation moves away from the rectilinearity of the hostel block and adds a playful and casual character to the structure, due to the curved walls and circular staircases.

Figure 8: Plan of Men’s Hostel at CDS; Source: Laurie Baker : Life, Works and Writings

• Use of repetition as a design principle is clearly seen in this example.

• Repetition is observed on various layers in the same plan, as shown in the drawing.

• To add to the character of the structure, the curved walls in the corridor of the building are also repeated. The repetition of these curved wall can be observed in the elevation of the structure.

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Figure 8 (a) : Plan of Men’s hostel block Source : Laurie Baker : Life, Works and Writings

Figure 8 (b) : Repetition of module 1 Graphics by : Author

Figure 8 (c) : Repetition of module 2 Graphics by : Author

Figure 8 (d) : Repetition of module 3 Graphics by : Author

Figure 8 (e) : Repetition of module 4 Graphics by : Author

Figure 8 (f) : Repeating element in corridor Graphics by : Author

2.1 (3) WOMEN’S HOSTEL at CDS, Trivandrum The women’s hostel block is quite similar to the men’s hostel block in a way that both have a rigid layout. The circulation area with unduly generous curved walls give an entirely different look the whole structure. The wall forming the circulation is not curved merely for stiffness but it incorporates in its breadth, all the spaces for an interactive hostel life.

Figure 9: Plan of Women’s Hostel at CDS; Source: Laurie Baker : Life, Works and Writings

• This structure follows repetition which is quite similar to the men’s hostel block.

• The jaali pattern used in the curved wall also follows a certain geometry. The undulating character of the curved walls is reflected in the jaali pattern on the plain surface of wall.

• The ridges in between the punctures of the jaali wall indicate lines of force along the curved wall surface.

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Figure 9 (a) : Plan of Women’s Hostel at CDS

Figure 9 (b) : Repetition of module 1

Source: Laurie Baker : Life, Works and Writings

Graphics by : Author

Figure 9 (c) : Repetition of module 2

Graphics by : Author

Figure 9 (d) : Repetition of module 3

Graphics by : Author

Figure 9 (e) : Jaali pattern

Graphics by : Author

2.1 (4)

CHITRALEKHA FILM STUDIO, Trivandrum

The complex is split into various parts which incorporate the various spaces required in a film studio. The entrance to this complex is a wide two storey tower with a conference room above and a low entrance portico, a wooden remnant from a temple which has been incorporated into the front wall. Use of geometry can be very clearly seen in the organisation of this complex.

Figure 10: Plan of Chitralekha; Source: Laurie Baker : Life, Works and Writings

• The entire complex can be said to be planned on a triangular grid. This grid can be achieved by joining the centre points of all the spaces in the complex.

• The central administration space can be incorporated into one such triangle in the grid.

• Another larger triangle is formed which runs through the centre points of the spaces in the outer core of the complex.

• These two triangles are thus observed to be in proportion.

• The complex is also observed to be symmetrical and its axis of symmetry passes through the median of both the larger and smaller triangle. !15

Figure 10 (a) : Axis along which the building is symmetrical in plan Graphics by : Author

Figure 10 (c) : Figure showing the triangular grid

Figure 10 (b) : The space at the centre of the building can be inscribed in a triangle

Figure 10 (d) : Figure showing the larger triangle thus formed is in proportion to the smaller triangle

Graphics by : Author

Graphics by : Author

Graphics by : Author

2.1 (5)

CORPUS CHRISTI SCHOOL, Kottayam

According to Laurie Baker, if a house should reflect the characteristics if its resident, then an institution too should reflect the attributes of the institution in architecture. Thus, he has incorporated meandering walls, circles, and squares as counterparts in this project to create a more desirable space, in which the student will feel less intimidated and will feel free to roam, and discover places.

Spaces with curved walls

Figure11: Corpus Christi School; Source: Laurie Baker : Life, Works and Writings

• There are three arcs on three sides of the complex and the area of the school dedicated only to the children can be incorporated inside the circles to which these arcs belong.

• The arcs on the opposite sides of the school belong to circles of the same radius.

• The complex comprises of randomly placed blocks of different sizes, however a flow or rhythm can be felt in the circulation of these areas due to alternating curved and edged surfaces along walls.

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2.1 (6)

HOUSE FOR LT. GEN. S. PILLAI, Trivandrum

The Nair sect of Kerala, has evolved a lifestyle which has left a permanent mark on the state’s domestic architecture. Living as a joint family, the Nair's reside in introverted residences organised around a central courtyard. Laurie Baker in this project has designed a house to accommodate two families in a modified version of the Nair plan, with a common interior garden.

Figure 12: Plan of Men’s Hostel at CDS; Source: Laurie Baker : Life, Works and Writings

• Here, geometry is used to give preference to the quality of space one will experience while moving through the house.

• The circulation leading up to the main areas of the house have alternating narrow and wide spaces and the house slowly unravels as one walks through these spaces.

• Hierarchy in planning can be observed in this house as the family interactive areas are placed in the beginning, the semi-private spaces like dining area is kept in between, and the privates spaces like bedrooms are kept at the rear. !17

2.1 (7)

HOUSE FOR P. RAMACHANDRAN, Trivandrum

This is another example of Laurie Baker’s works in which geometry used is quite clear. The living rooms have bay windows which are more than just decorative niches but the shutters, on a cantilevered slab, open fully to expose the room to the outside on three sides.

Figure 13: Plan of house for P. Ramchandran; Source: Laurie Baker : Life, Works and Writings

• This house has rectilinear plan with an axis which passes through its longer side. This axis balances both the sides of the plan.

• The rectilinearity of the plan is broken as the bedroom and the car port open out on opposite sides of the plan thus adding a new dimension to the plan.

• The sitting area is nothing but a square space, however, a similar tilted square space can be seen between the sill and lintel level due to the bay windows. This is an example of datum.

• The lengths of the walls are kept in proportion to each other.

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Figure 13 (a) : Figure showing elongated rectangular shape of plan

Figure 13 (b) : Figure showing squares at various angles

Graphics by : Author

Graphics by : Author

Figure 13 (c) : View of sitting area

Figure 13 (d) : View of sitting area

Graphics by : Author

Graphics by : Author

2.1 (8)

HOUSE FOR K. J. MATTHEW, Trivandrum

Laurie Baker has achieved both a monumental appeal of an outer street face and a personalised interior by working the functions into a predetermined geometry. The shape of a hexagon in the centre extruded to make it rise above the outer symmetry of the single storey.The hexagon incorporates bedrooms on the upper floor and a meeting place for two families on the lower floor.

Figure 14 (b): Ground floor; Source: Laurie Baker : Life, Works and Writings

Figure 14 (a): Upper floor; Source: Laurie Baker : Life, Works and Writings

Figure 14 (c): Elevation; Source: Laurie Baker : Life, Works and Writings

• The plan can be said to grow along two axes, X and Y at 90o to each other.

• The house in symmetrical in plan and these two axes lie on either sides of the axis of symmetry.The meeting point of these three axes is the centre point of the hexagon which rises above to the next floor still maintaining the symmetry.

• The sides of the hexagon which are at an angle, are either parallel to or perpendicular to the axes X and Y to maintain the geometry on the upper floor.

• The design also shows hierarchy in planning as the space like living area is kept at the centre but at the same time secluded from the remaining areas of the house.

• This house is also an example of transformation as the plan is altered on the upper floor without losing its initial concept. !19

Figure 14 (d) : Ground floor plan

Image source : Laurie Baker : Life, Works and Writings

Figure 14 (e) : The axis of symmetry and the two axes X and Y

Graphics by : Author

Figure 14 (f) : Hexagonal shaped upper floor plan

Figure 14 (g) : The outer walls of the upper floor relate to these axes

Graphics by : Author

Graphics by : Author

2.1 (9)

HOUSE FOR VARGHESE JACOB, Kottayam

The traditional courtyard organisation of the Kerala house, is used here in a different way, to disperse functions within the same plan. Movement through the house is seen int he nature of a spiralling journey.

Figure 15:Plan of house for Varghese Jacob ; Source: Laurie Baker : Life, Works and Writings

• The plan not only reflects the use of symmetry but also datum in its organisation.

• The plan is made up of various circles and arcs. The centre point for all of them is the same and lies in the central open yard.

• All the other walls in this house are straight ones which lie on any one of the diameters.

Thus all the walls tend to coverage towards the centre.

• Hence the open yard in the centre becomes a frame of reference or datum to which all the other elements in this house can relate to.

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2.1 (10)

Other significant examples

1. This is an obvious example of repetition. Not only are the arches repeated to give rhythm to the interior circulation space, but the entire group of arches are repeated on the upper floor as well. Also, the jaali pattern above the entrance, matches the pattern on the grill of the entrance.

Image 1; Source : Internet (https://nayeemasif.files.wordpress.com/2013/02/the-hamlet-12.jpg)

2. The same jaali pattern above the entrance is repeated alternately, with one having an introvert appeal and the other an extrovert appeal. Usually in any Laurie Baker’s works, he uses a border of overlapping bricks to the edges of the structure. However, here it has been used for the entrance, probably to give it more emphasis.

Image 2; Source : Internet (http://3.bp.blogspot.com/_6SBviae1JUo/R309bTBKDoI/AAAAAAAABBk/ UoUJ4KjqjGc/s400/12.jpg)

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3. This jaali works shows repetition on various layers, adding a rhythm to it not only horizontally, but also vertically.

Image 3; Source : Internet (http://static1.squarespace.com/static/51b7f77ae4b0b8b55c767c91/51bab271e4b0944ea53a570c/ 51bab29ee4b04b3f6c6fd623/1424412713084/brick8.jpg)

4. The ridges on the jaali work on the curved walls indicate lines of force which depict movement. 

Image 4; Source : Internet (https://thiruvananthapuramupdates.files.wordpress.com/2012/01/loyola.jpg)

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5. The circulation here has a similar curved wall, however the lines of force are not used here. On the contrary, a stable form of jaali work is used, probably to create a calm and stationary appeal to respond to the surrounding environment.

Image 5; Source : Internet (http://farm5.static.flickr.com/4029/4714733451_abe510772a.jpg)

6. The face of the Kathakali Goddess id depicted through jaali pattern. 

Image 6; Source : Internet (http://benny.in/uploads/digital_uploads/Chitralekha2.jpg)

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7. Three openings increasing in size but same in proportion are provided on different levels.

The jaali pattern on the two sides of the entrance is similar to the shape of the entrance, which also resembles the cross at the top of the structure.

Image 7; Source : Internet (http://www.kamit.jp/01_introdctn/6_colonial/laurie.jpg)

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INFERENCE

Inference Table Name of Project

Client

COMPUTER CENTRE

CDS

Year of constru ction

Figure (for reference)

Principles of Geometry applied

1971

1. Axis 2. Proportion

24M

Y Figure 7 (a) : Plan showing building outline

X

Graphic by : Author

20.5M

C

A

1.5M 1.3M

B

!

MEN’S HOSTEL

CDS

D

Figure 7 (b) : Centre points of arcs AB and CD coincide

Figure 9 (b) : Repetition of module 1

CORPUS CHRISTI SCHOOL

Film Maker, Adoor Gopalkris hnan

CDS

Figure 7 (d) : Figure showing axis which passes through centre points of both circles

Graphic by : Author

24

1.5

20.5

1.3

1.1

Figure 7 (e) : Figure showing the ratios of the diameter to the segment

Graphic by : Author

Figure 8 (b) : Repetition of module 1

Figure 8 (c) : Repetition of module 2

Graphics by : Author

Graphics by : Author

Figure 8 (d) : Repetition of module 3 Graphics by : Author

Figure 8 (e) : Repetition of module 4 Graphics by : Author

Figure 8 (f) : Repeating element in corridor Graphics by : Author

1971

Figure 9 (a) : Plan of Women’s Hostel at CDS

CHITRALEKHA FILM STUDIO

Graphic by : Author

1. Rhythm 2. Repetition

Source : Laurie Baker : Life, Works and Writings

CDS

Figure 7 (c) : Centre points of both circles

1971

Figure 8 (a) : Plan of Men’s hostel block

WOMEN’S HOSTEL

Graphic by : Author

Source: Laurie Baker : Life, Works and Writings

Graphics by : Author

Figure 9 (c) : Repetition of module 2

Graphics by : Author

Figure 9 (d) : Repetition of module 3

Graphics by : Author

1. Rhythm 2. Repetition 3. Lines of force

Figure 9 (e) : Jaali pattern

Graphics by : Author

1975

1. Axis 2. Symmetry 3. Use of grid Figure 10 (a) : Axis along which the building is symmetrical in plan Graphics by : Author

Figure 10 (c) : Figure showing the triangular grid

Figure 10 (b) : The space at the centre of the building can be inscribed in a triangle

Figure 10 (d) : Figure showing the larger triangle thus formed is in proportion to the smaller triangle

Graphics by : Author

1972 Spaces with curved walls

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Graphics by : Author

Graphics by : Author

1. Rhythm in movement 2. Proportions 3. Datum

Name of Project

Client

Year of constru ction

Figure (for reference)

HOUSE FOR LT. GEN. S. PILLAI

Joint family in Kerala

1971

1. Rhythm in movement 2. Hierarchy

HOUSE FOR P. RAMACHANDRA N

Senior civil Engineer

1976

1. Datum 2. Axis 3. Linearity Figure 13 (a) : Figure showing elongated rectangular shape of plan

Graphics by : Author

Figure 13 (b) : Figure showing squares at various angles

HOUSE FOR K. J. MATTHEW

Graphics by : Author

Figure 13 (c) : View of sitting area

Figure 13 (d) : View of sitting area

Graphics by : Author

Graphics by : Author

1984

1. Axis 2. Symmetry 3. Transformatio n Figure 14 (d) : Ground floor plan

Image source : Laurie Baker : Life, Works and Writings

Figure 14 (e) : The axis of symmetry and the two axes X and Y

HOUSE FOR VARGHESE JACOB

Principles of Geometry applied

1976

Graphics by : Author

Figure 14 (f) : Hexagonal shaped upper floor plan

Graphics by : Author

Figure 14 (g) : The outer walls of the upper floor relate to these axes

Graphics by : Author

1. Datum

Table : 1

Inference table by: Author

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CONCLUSION

To summarise the above study, it can be said that amongst the large variety of projects that Laurie Baker has carried out, there is one element that is common in all of them, and that is geometrical order which is embedded in them. This geometrical order may not be visible to the eye but it is rooted in the design process which makes the space aesthetically pleasing.

The parameters such as functions of spaces, context, climate have also been looked into while applying geometry.

From the above analysis, we learn that Laurie Baker has made significant use of the principles of geometry while designing and thus organic geometry can be derived from his designs. As a result, his works have a fluid and free appearance and do not seem monotonous.

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TABLE OF FIGURES 1. Figure 1: Axis; Source : Architecture-Form, space and order 2. Figure 2: Symmetry; Source : Architecture-Form, space and order 3. Figure 3: Hierarchy; Source : Architecture-Form, space and order 4. Figure 4: Rhythm; Source : Architecture-Form, space and order 5. Figure 5: Datum; Source : Architecture-Form, space and order 6. Figure 6: Transformation; Source : Architecture-Form, space and order 7. Figure 7: Plan of Computer Centre at CDS; Source: Laurie Baker : Life, Works and Writings 8. Figure 7 (a) : Plan showing building outline; Graphic by : Author 9. Figure 7 (b) : Centre points of arcs AB and CD coincide; Graphic by : Author 10. Figure 7 (c) : Centre points of both circles; Graphic by : Author 11. Figure 7 (d) : Figure showing axis which passes through centre points of both circles; Graphic by : Author 12. Figure 7 (e) : Figure showing the ratios of the diameter to the segment; Graphic by : Author 13. Figure 8: Plan of Men’s Hostel at CDS; Source: Laurie Baker : Life, Works and Writings 14. Figure 8(a): Plan of Men’s Hostel at CDS; Source: Laurie Baker : Life, Works and Writings 15. Figure 8 (b) : Repetition of module 1; Graphic by : Author 16. Figure 8 (c) : Repetition of module 2; Graphic by : Author 17. Figure 8 (d) : Repetition of module 3; Graphic by : Author 18. Figure 8 (e) : Repetition of module 4; Graphic by : Author 19. Figure 8 (f) : Repeating element in corridor; Graphic by : Author 20. Figure 9: Plan of Women’s Hostel at CDS; Source: Laurie Baker : Life, Works and Writings

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21. Figure 9 (a) : Plan of Women’s Hostel at CDS; Source: Laurie Baker : Life, Works and Writings 22. Figure 9 (b) : Repetition of module 1; Graphic by : Author 23. Figure 9 (c) : Repetition of module 2; Graphic by : Author 24. Figure 9 (d) : Repetition of module 3; Graphic by : Author 25. Figure 9 (e) : Jaali pattern; Graphic by : Author 26. Figure 10: Plan of Chitralekha; Source: Laurie Baker : Life, Works and Writings 27. Figure 10 (a) : Axis along which the building is symmetrical in plan; Graphic by : Author 28. Figure 10 (b) : The space at the centre of the building can be inscribed in a triangle; Graphic by : Author 29. Figure 10 (c) : Figure showing the triangular grid; Graphic by : Author 30. Figure 10 (d) : Figure showing the larger triangle thus formed is in proportion to the smaller triangle; Graphic by : Author 31. Figure 11: Corpus Christi School; Source: Laurie Baker : Life, Works and Writings; Graphic by : Author 32. Figure 12: Plan of Men’s Hostel at CDS; Source: Laurie Baker : Life, Works and Writings 33. Figure 13: Plan of house for P. Ramchandran; Source: Laurie Baker : Life, Works and Writings 34. Figure 13 (a) : Figure showing elongated rectangular shape of plan; Graphic by : Author 35. Figure 13 (b) : Figure showing squares at various angles; Graphic by : Author 36. Figure 13 (c) : View of sitting area; Graphic by : Author 37. Figure 13 (d) : View of sitting area; Graphic by : Author 38. Figure 14 (a): Upper floor; Source: Laurie Baker : Life, Works and Writings 39. Figure 14 (a): Upper floor; Source: Laurie Baker : Life, Works and Writings 40. Figure 14 (c): Elevation; Source: Laurie Baker : Life, Works and Writings 41. Figure 14 (d) : Ground floor plan; Source : Laurie Baker : Life, Works and Writings 42. Figure 14 (e) : The axis of symmetry and the two axes X and Y; Graphic by : Author !29

43. Figure 14 (f) : Hexagonal shaped upper floor plan ; Graphic by : Author 44. Figure 14 (g) : The outer walls of the upper floor relate to these axes; Graphic by : Author 45. Figure 15: Plan of house for Varghese Jacob ; Source: Laurie Baker : Life, Works and Writings; Graphic by : Author 46. Table 1 : Inference table ; Table by : Author 

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TABLE OF IMAGES 1.

Image 1; Source : Internet (https://nayeemasif.files.wordpress.com/2013/02/thehamlet-12.jpg)

2.

Image 2; Source : Internet (https://nayeemasif.files.wordpress.com/2013/02/thehamlet-12.jpg)

3.

Image 3; Source : Internet (http://static1.squarespace.com/static/ 51b7f77ae4b0b8b55c767c91/51bab271e4b0944ea53a570c/ 51bab29ee4b04b3f6c6fd623/1424412713084/brick8.jpg)

4.

Image 4; Source : Internet (https://thiruvananthapuramupdates.files.wordpress.com/ 2012/01/loyola.jpg)

5.

Image 5; Source : Internet (http://farm5.static.flickr.com/ 4029/4714733451_abe510772a.jpg)

6.

Image 6; Source : Internet (http://benny.in/uploads/digital_uploads/Chitralekha2.jpg)

7.

Image 7; Source : Internet (http://www.kamit.jp/01_introdctn/6_colonial/laurie.jpg)

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BIBLIOGRAPHY

Internet Source Organic Geometry⎯A Rationale to Create a Form , Hu, Hung-shu , Professor Emeritus, Design, The School of Art and Art History, University of Iowa, Iowa City, Iowa 52242, U.S.A. (http://www.idemployee.id.tue.nl/g.w.m.rauterberg/conferences/) Books Source Architecture - Form, Space, and Order by Francis D. K. Ching 3rd edition Laurie Baker - Life, Works and Writings by Gautam Bhatia

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