Avantika Verma
Indian Institute of Technology, Roorkeee
PRINCIPLES
OF ARCHITECTURE
PORTFOLIO
All about the
Space Space
is
design
an
intangible
of
element
architecture.
of
the
Architectural
designs are created by carving space out of space, creating space out of space, and designing using
spaces
various
by
dividing
tools,
such
this
as
space
geometry,
colors, and shapes. It is defined in terms of forms,
shapes,
size,
color,
smell,
time,
location. and the atmosphere.
Space
structure
includes
and
its
the
elements
volume that
of
we
a
move
through and experience.
negative
space.To
comprehend
the
structure of a visual field, we organize its elements into positive space perceived as figures
and
background
negative for
the
portion
serving
figure.
We
as
a
should
therefore understand that figures and their background reality-
a
together
unity
of
form
an
opposites-
inseparable just
as
the
elements of form and space together form the reality of architecture.
mass
reading
design
occurs
and
with
at
space.
In
drawings, both
the
the
juncture
executing
we
form
and
should of
the
be
mass
containing a volume of space as well as the form of the spatial volume itself. The symbiotic relationships of the forms of mass and space in architecture can be examined and formed
Space can be defined in terms of positive and
form
between
concerned
Architecture is a combination of space and form.
Architectural
to exist at several scales. At each level, we should not be concerned about the form but also
its
impact
Certain
on
buildings
the
are
surrounding
the
landmark
space. of
the
place. A building can aid in designing streets and squares. At the scale of a building, we tend to read the configuration of walls as the positive elements of a plan. The white space in between
should
not
be
simply
seen
as
the
background of the wall. Even at the scale of a room articles of furnishing can either stand as a
form
within
a
field
of
space
define the form of a spatial field.
or
serve
to
Properties of
Form Shape Shape
is
defined
dimensions.
as
a
two-dimensional
space
confined
by
lines(or
edges)
which
has
some
It is the basic outline or surface configuration of a particular form. It is the basic
aspect to identify a form. Shape can be described as either organic or geometric. Geometric shapes are regular, such as squares, rectangles, circles, cubes, spheres, cones, etc. Shapes having irregularities can be termed as organic.
Texture And Color The combination of color and texture provides a distinct experience and a certain visual appeal to the overall design. They help define a space while regulating our feelings and responses. We can use
these
elements
to
create
contrast
experiences that incite our minds.
and
depth,
express
emotion,
and
create
rich
tangible
All about the
Form What is form? Form
refers
to
the
shape
or
configuration of a building. Form and its opposite,
space,
constitute
primary
elements of architecture. The reciprocal relationship intention internal
is
of
essential,
architecture
sheltered
space
given
the
to
provide
for
human
occupation.
Significance of form Form in architecture not just plays a very
FORM FOLLOWS FUNCTION
crucial
‘Form
role.
It
is
not
just
simply
the
follows
function’
is
a
principle
that
shape or configuration of a building but
proposes
it comprises many elements be it a point,
starting
line, plane, or volume.
aesthetics. As an axiom, it is associated with
a
building’s
point
for
purpose
its
design
should rather
be
the
than
its
modernist architects in the early-20th century, A number of aspects must be considered
and can be termed 'functionalism'. The phrase
in
(which
order
to
architectural mass/size,
analyze form,
scale,
or
design
an
including
shape,
proportion,
rhythm,
articulation, texture, color, and light.
was
function'),
actually
was
first
'form
coined
ever
by
the
follows American
architect Louis Sullivan who helped develop the first
steel
Chicago.
skyscrapers
The
than
buildings
with
past
purpose form.
of
The
principle being
suggested
or
building
axiom
late-19th
designed
precedents the
in
in
stylistic would
became
a
century
that,
rather
accordance trends,
the
determine
touchstone
its for
modernist architects such as Frank Lloyd Wright (who was an apprentice of Sullivan), who held that ‘form and function are one’, and rendered decorative ‘superfluous’.
elements
as
‘ornamental’
and
Mass/Size Mass combines with shape to define form. Mass refers to the size or physical bulk of a building, and can be understood as the actual size, or size relative to context. This is where scale comes into play in our perception of mass.
Scale and Proportion Scale refers to the size of something compared to a reference or to the size of something else, whereas proportion refers to the proper relation of one part to another or to the whole. Proportion provides
guidelines
for
laying
out
useful
spaces.
Proportion
can
make
a
building
appear
welcoming, threatening, or impressive. The
golden
ratio
in
art
and
architecture:
It
is
a
proportioning
system
that
determines
the
relationship of smaller parts to the whole. It has been believed to produce some of the most aesthetically pleasing shapes in nature, and as such has been used in many works of classical architecture.
Light Form is recognized emphasized
the
differently
significant
according
relationship
to
the
light
between
conditions
light
and
of
the
form
in
space. his
Le
Corbusier
famous
has
statement,
"Architecture is the masterly, correct, and magnificent play of masses brought together in light. Our eyes are made to see forms in light; light and shade reveal these forms."
Articulation Articulation refers to the way in which building surfaces come together to define a form. Forms could be articulated by playing with their corners and surface planes. Windows, doors, stairs, etc. could be used
as
elements
to
chamfering the edges.
create
surface
articulation.
Corners
can
be
articulated
by
opening
or
Ordering principles of
Design Rhythm Rhythm is the presentation of multiple units in a deliberate pattern. Rhythm is achieved by altering positive
elements
and
negative
space,
or
a
sequence
of
light
changing
with
shades.
These
elements could be masses, embellishments, windows, etc. Rhythm increases the compositional unity of the overall design. It creates a consistent order and presents the design as a whole.
Hierarchy Hierarchy
is
the
organization
of
different
elements
of
a
space
in
terms
of
their
relative
importance. It describes the components of a structure based on how noticeable they are. One element Is emphasized over another by adjusting its visual weight. Hierarchy provides a pattern of movement ad flow to the overall design. It aids comprehension, reinforces the message, and guides
the
viewer.
supporting elements.
Hierarchy
helps
to
differentiate
the
space
into
primary,
secondary
and
Datum Datum refers to a line, plane, or a volume that, by its continuity and consistency, serves to gather, measure, and organize a pattern of forms and spaces. A datum is a form that ties together or anchors all other elements of the design. It must have sufficient size, closure, and regularity organized jointly within the given field. It can be a line, like a road with houses arranged along its length, a flat plane, or even a 3D space. Many buildings share a plane that acts as a precise datum, which is the ground on which they are built.
Transformation It
states
that
an
architectural
concept,
structure,
or
organization
can
be
modified
through
a
sequence of changes in response to a particular context or set of conditions without losing its uniqueness or concept. Repetition of form can also be said to show transformation if it looks a little different each time. Sometimes shapes get transformed by getting bigger or smaller, and they might also twist, extend, or morph into another form.
Balance Balance refers to the distribution of negative and positive elements in a space so that no one area overpowers the other. Just like physical balance is related to physical weight balance in design is related to the visual weight of elements. Balance aims to provide an aesthetically pleasing whole and control the flow in design. The unique parts add to their sum but don’t try to become the sum. Architectural balance is most commonly achieved through symmetry. It was the norm for classical architecture. We can achieve an asymmetrical architectural balance also. This type of balance is dynamic, and the elements share a complicated relationship between them. Radial balance occurs when
elements
radiate
from
a
common
center.
Everything
radiates
from
a
common
center,
everything also leads to that center, making it a strong point of attraction.
Emphasis Emphasis is created when attention is focused on certain aspect of a design. Emphasis aids viewers in understanding visually which area has more influence than other areas within a design. Emphasis can be achieved by isolation, changing the placement and constrast.
Contrast In design, contrast is the difference between two or more elements in a composition. Contrast of various kinds can be used to emphasize a center of interest. Contrast can be created by altering the size, color, visual weight or, shape.
Symmetry It is the balanced distribution of equivalent form and space on opposite sides of a dividing line or axis or center. Bilateral symmetry generates an axial spatial structure. It is the most common type of symmetry and is found in different eras of different cultures, and they are halves of a composition of form is mirrors each other. It can be observed in structural planning and also in features of surfaces or facades. Radial symmetry means a center and a repeated or continuous surrounding setting. Various
functional
structures
apply
radial
symmetry,
such
as
stadiums,
theatres,
etc.
The
radial
compositions highlight the primary area of a design or place. For example, if you see under the center of a vault, the ribs will look perfectly straight as they are radial from the center.
Unity and Harmony Unity in design happens when space's components work together so that the resulting appearance is balanced and harmonious. It isn't easy to achieve unity without harmony. Harmony is achieved by repeating a distinct design element, such as color, shape, texture, etc. Harmony is what generates a sense of unity. There are different ways to achieve Harmony And Unity, such as: Repetition – element is repeated many times over a particular space. Continuation – the sense of having a pattern or a line extended. Similarity – the ability to see that other elements are repeated. Perspective – a sense of elements being distant from each other. One may confuse unity and harmony with being the same thing. However, they make a difference in the way we experience a space. Harmony is the feeling that your overall design principles fit together well. Unity is when elements in spaces are blended to make a complete, harmonious, and balanced combination. Harmony and unity go hand in hand.
The hierarchy of needs The basic concerns of humans is probably best described by ‘the hierarchy of needs’ of Maslow. This theory is often depicted as a pyramid consisting of 5 levels: the 4 lower levels are grouped together as deficiency needs associated with physiological needs, while the top level is termed growth needs associated with psychological needs. According
to
Maslow,
if
you
try
to
meet the needs of one level in the hierarchy
without
first
meeting
the
prior group's needs, your place in the ranking will be unstable. Lower levels in
the
order
higher
serve
levels.
If
as
the
your
basis
for
foundation
shakes, you get dragged back down to
a
lower
foundation the
level
before
hierarchy.
If
to
uphold
moving
not,
your
back
you're
led
up to
thoughts and feelings of stress and anxiety. Maslow’s
hierarchy
can
be
interpreted to design, for which the order
from
low
functionality,
to
high
would
reliability,
be
usability,
proficiency, and creativity. A design must
be
able
to
function
before
anything else. Once the design has met
functional
needs,
it
can
move
up to the next level: reliability. The usability
of
efficiency
a
design
by
which
defines
the
users
can
perform the tasks offered by design. Once have
all
of
been
move
on
these
met,
the met,
to
lower-level your
creative your
communicate innovative ways.
design needs.
design with
needs can With
can
now
users
in
Gestalt theory of Perception According to the Gestalt Theory, as learning is linked with the perception and memory processes, knowledge includes all the life experiences needed to create new content for perception and memory systems.
Similarity: Objects that are similar will be seen together in groups. Similar objects can be defined by shape, size, color, direction, and other attributes.
Common RegionObjects that are placed in a closed region are perceived as being grouped together.
Proximity:
Objects
that
are
close
together
form
groups
by
visually uniting.
Closure:
Our
minds
tend
to
close
gaps
to
fill
in
missing
spaces to complete an unfinished shape.
Continuity: Objects placed in a line or a curve are perceived to be more related than objects not in a line or curve.
Symmetry:
Objects
that
are
symmetrical
being part of the same group.
are
perceived
as
Case study
SANSKRITI KENDRA ARCHITECT : Upal Ghosh
INTRODUCTION Sanskriti Kendra is a symbol of Sanskriti's involvement in activities relating to art, craft, literature, the
performing
different
facets
Sanskriti
Kendra
arts, of is,
and
a
social
single
thus,
a
work.
vibrant
Although
culture
manifestation
diverse
rooted
of
in
on
Indian
Sanskriti's
the soil
surface, but
philosophy
these
universal
of
looking
activities in at
its
are
outlook.
apparently
different facets as parts of a larger organic whole. It is a cultural centre where artists and sculptors, writers and musicians, and village craftsmen, practise their arts in tranquil surroundings that engage the mind with the imagery of the idyllic pastoral countryside with its manmade interventions. Sanskriti Pratishthan, is an Indian not-for-profit cultural organization that helps cultivate an environment for preservation and promotion of India's artistic and cultural resources. The buildings are semi-rustic in appearance, with ample space between them for strolling or catching a breath of fresh air- but not so far apart as to engender a sense of isolation. The grounds, filled with a profusion of trees, present a picture of seemingly organic growth. Anand Gram, as the complex is called, is just that - a village that makes the visitor happy. Sanskriti Pratishthan, is an Indian not-for-profit cultural organization that helps cultivate an environment for preservation and promotion of India's artistic and cultural resources.
Activities performed
POTTERY
CHILDREN WORKSHOPS
LIBRARY / RESEARCH CENTRE
PAINTING ACTIVITY
CRAFTSPERSON WORKING
EXHIBITION
CONCEPT A living and artistic complex, the Kendra is meant to provide temporary living and working space to both traditional and modern artists and craftspersons and encourage interaction between them. Thus, the complex includes an open-air auditorium, conference hall, studio apartments, and
two
museums.
For
artisans,
a
separate
cluster
of
huts
with
individual
cooking
facilities
provided. The spaces are scattered like a village dwelling. Over two thousand trees are planted across the plot, with a banyan tree at the entrance.
BUILT VS OPEN There is a balance amid the closed and open to sky zones. One walks out
to lend oneself in a
verandah, leading to a courtyard and then under a tree, and beyond onto a terrace covered by a bamboo pergola, and then perhaps back onto a balcony and so on. The boundaries between these zones are not so defined but comfortable. Subtle modulations of light, of the quality of ambient air, express each change on our senses.
CIRCULATION AND MOVEMENT The
movement
patterns
and
circulation
is
evident.
There
are
service
roads
that
run
on
the
perimeter of the site. This road provides unity to the site and connects it together.
DISTRIBUTION OF SPACES Public spaces like museums and offices come first with entry. Sitting spaces come next to providing a bit of privacy by planting trees. Workspaces, studios, and very personal spaces are apart from the public areas to avoid any disturbance allowing artists to work in a very natural and relaxed atmosphere. Services like washing, laundry are located at the end of the site, away from public movement along the service road.
LANDSCAPING Since it is situated on the Aravalli range's foothills, the emphasis is given to the landscape. No activity
that
would
disturb
the
fundamental
nature
of
the
land
was
undertaken.Landscape
elements: A proper balance of formality and informality, both in plant and challenging landscape. Geometric forms, pavements, paths, and fences scatter the lawns, vans, Nahar, and parks. Trees have been planted to dominate the complex. The rainwater drainage canal that runs down the center and existing clumps become the significant structuring layout elements. The rainwater channel has been changed into a linear water body-The Nahar.
Landscaping elements
ARCHED GATEWAY
BARAKHAMBA
BANYAN COURTYARD
BAITHAK
LOTUS POND
AMPHITHEATER
DISTRIBUTION OF THE ACTIVITIES BAITHAK The baithak is the standard room of the Kendra, which provides housing amenities such as the dining room, conference room, library, and office. A two-storeyed building is internally united visually and physically by a double-height closed court with steps. These steps can be used as seating during conversations.
FLOW OF SPACES The building has entrances at different levels. Excluding the office and the library, all other spaces flow into each other, giving the interior a very expansive sense. The office has been strategically located at a higher level overlooking the entire complex providing a hierarchy to space. There is experimentation with levels within the building, maintaining regular flow horizontally and vertically.
MATERIAL APPLICATION The architect took cues from vernacular architecture but wanted the buildings to be efficient and long-lasting. He chose cement that was made to look like mud bricks. This generates a design that can be replicated effortlessly.
EXHIBITION AREAS The Kendra includes two museums – the Sanskriti Museum of India terra-cotta and the Sanskriti Museum of everyday art. These, the most public of all the spaces, required particular attention for clarity of movements. The layout of spaces is such that a visitor moves from one exhibit to the
next
without
repeating
any.
A
series
of
modular
units
have
been
organized
around
landscaped courtyards.
GOOD PLAY WITH TRANSITION OF SPACES: The module which is square in plan, has been used in many forms – sometimes as just a stage, a room without a roof, a room with ceiling but no walls, and sometimes surrounded with regular doors and windows. The top is always pyramidal as it suits the square plan and blends well with the scale and setting. A majority of terracotta belonged to open and semi-open environments. From the regular earthen pot that contains drinking water to giant figures of the Aiyyanar
cult's
deities,
terracotta
art
occupies
a
prime
position
in
Indian
life
and
culture.
Terracotta art enjoys great freedom in imagination and design. Sanskriti found it interesting that,
despite
its
widespread
usage,
antiquity,
artistic
terracotta objects have not been systematically collected.
merit,
and
cultural
significance,
MUSEUM OF EVERYDAY ART The Sanskriti Museum of Everyday Art is a rich storehouse of objects of everyday life of traditional India that show some sign of superiority in craftsmanship, conception, or design. The museum of everyday art is housed in a building sunk partly below ground, and its roof is effectively used as an outdoor exhibition terraces for the terra-cotta museum.
ANALYSIS The building displays a perfect example of an environment suitable for a cultural context—a building designed in the landscape, with the built form complementing the natural landform. Spaces are well articulated. The movement pattern provides a unique experience to the visitors as he walks from open to the sky to semi-covered courts and finally into a covered space.
The
presence
of
visitors
craftsmen to display the result.
enhances
the
festive
atmosphere
and
encourages
the
Case study
Letterbox House Location: Blairgowrie, Victoria, Australia Architect: McBride Charles Ryan, Prahran, Australia
LOCATION Charles Street is located in a holiday suburb on the Mornington Peninsula. Amid the simple beach, the houses are arranged in a rectangular grid. There is sufficient space between the structures for play and landscape to dominate. The plan is designed to allow the multiple members of a large family to occupy the house simultaneously.
The
structural
engineer
played
a
critical
part
in
the
'programmed'
wall's
construction and detail through its basic structure of raked box beams.
An excellent and elaborate timber wall-verandah is placed against the simple construction. This develops a play of the extraordinary and the common within the space. The building has a passive ventilation strategy designed to exploit the sea breezes for comfort and cooling.
This
building
improves
experience pedestrian. both
of The
domain.
in It
the
building
recessive
expressive
the
the does
is
and public not
dominate the area but is an engaging look suggestive of both
the
coastal
and
region's notable topography.
There is a clear hierarchy in this house. Contrasting to the timber wall that stretches from the letterbox to become the westerly verandah, the house's remainder appears a simple modernist expression like many of the region's homes. On moving closer, the raked timber wall seems to have generated from out of the small letterbox. Yet, from other perspectives, the house appears to have been carved away. The two techniques provide a balance to the overall design.
The wall outside is a covered deck, cliff, upside-down boat, verandah, and, inside, a repository of the bric-a-brac collected on beach holidays – a medium for invoking family memories. It is an inbetween zone, which invokes a feeling of belongingness.
“One of the great beauties of architecture is that each time, it is like life starting all over again.”
– Renzo Piano