Understanding the phenomenon of movement in architectural space perception
Content ACKNOWLEDGMENT.....................................................................2 Introduction.............................................................................3 Preface 3 Aim, Objective, Research Questions and Methodology 5 Scope and Limitation 6 Chapter 1 PERCEPTION OF SPACE............................................7 1.1 Basic Perception 8 1.2 Perception of Space Through Movement 13
Chapter 2 Movement..............................................................23 24 2.1 Movement Through The Spaces 27 2.2 The Structure of Movement 37 2.3 The Nature of Movement 38 2.4 Communicative Factors in The Movement Chapter 3 Architectural examples...................................41 3.1 Sanskar Kendra 43 3.2 Dada Harir ni Vav 47 3.3 Gandhi Smarak Museum 51 Inferences 54 Chapter 4 CASE STUDIES..........................................................55 57 4.1 Hutheesing Jain Temple 81 4.2 Vishalla 101 4.3 Sangath Comparative discussion........................................................121 CONCLUSION.......................................................................................129
Bibliography Illustration credits
131 133
1
ACKNOWLEDGMENT Well, there are wonderful people in this world, that helped me for this thesis. I am very thankful to my guide Prof. Yatin Pandya for his valuable guidance, encouragement, and cooperation during my thesis. Also, I express special thanks to Aayushi Bhatt, Aashna Agarwal and Krishna Jadawala who helped me throughout my thesis for proof reading and editing, Shailja Patel for work organization, Avani Modia for measured drawings and Udit Parekh for the sketches. I am grateful to you all, as your help is a great contribution to the completion of this thesis. I am deeply thankful to my family who stood for me every time and for their endless love and support at several stages of the CEPT journey. They constantly inspire me to achieve my goals. My extended family the 2011 batch who have been amazing companions, thank you all for gifting me one of the best memories of my life. Big thanks to CEPT faculties for playing a significant role in the shaping of our thinking and Campus, for being the strongest part of my journey!
2
Introduction
Preface The built form and their environment plays a major role in the lives of the people. It is primarily dependent on the manner an individual moves through, experience and perceive the space. As mentioned in the book of Bloomer, Kent C, ‘Body, memory and architecture’; a user gains an experience when he/she becomes aware of their presence and position in the space. What an individual sees and perceive from the space is directly related to the movement. Thus, an experience of the built form composes of a journey (movement) through various spaces. The aspect of movement helps in building up an environment with respect to the built form, which is the first feature for people to see and walk through it. A space is designed to be experienced in a complete sense. It can happen through different elements, transitions and creating various relationships. The composition of various elements such as volume, light, scale and proportion, material and texture and nature are participates to define the character of a space through movement. The placement and visualization of elements and their association with each other or past identity create an environment and even memory of the space. In the book ‘The dynamics of architectural form’, Rudolf Arnheim states that a building is “.....not made to be stared at from a fixed point, but to unfold as one walks around it- a sequential experience.” [1] ‘Movement within a building or space is not just getting from one place to another; it is a chance to explore and celebrate.’[2] Movement is a key to experience space and understand the spatial organization and qualities. It generates various experiences that are perceived as a sequence of an event through different spaces. The sequences are inter connected through a relationship of each event hence leading to spatial organization. The relationship of movement with interior spaces of the built form is not determined only by their relative position but also by the nature of the spaces that connect them. Thus, sequence is a very important aspect of the whole phenomenon that helps user to understand and perceive the space. 3
Introduction
An individual frequently receives clues from the journey for the next sequence. This process of encoding and decoding of clues, generate associations and relationships that give rise to experiences. An appropriate sequence of movement considering the aspect of time and manner in which an individual moves further affects the perception of space. A notable effect is established on an individual’s mind by an experience gained through movement. The process of perception is dependent upon various bodily sensations. The conflict between perception and expectation through the memory of a person generates awareness of sensation. Various associations and relationships are generated that further create impact on senses and feelings. Movement and perception are indivisible aspects of any space though it plays an important role in the notion of perception. The movement through a path plays a vital role in the perception of space. The path act as links (recurring nodes or points of reference) to an observer to re-establish his/her relationship with destination through a change in direction, offering a new aspect at each turn that maintains interest and curiosity. Thus, the understanding of movement structure becomes essential. The study tries to understand the various approach routes, patterns and journey of movement till destination by analyzing from a shift in axis. This study looks into scale, proportions, visual frames, sequential bodily movement in a path and predicting a physical pause that space demands.
[1] Rudolf Arnheim, The dynamics of architectural form, University of California press, 1977, [2] Brooker Graeme, Stone Sally, Context + Environment, AVA Publishing, 2008 4
Introduction
AIM To study the design of the movement sequence in a built form and understanding its role in generating user’s experience and a phenomenon of perception of space.
OBJECTIVES Study the phenomenon of perception and understand the perception of space through movement. Study the phenomenon of movement through spaces. Study the structure and nature of the movement. Understand the factors influencing the movement sequence. To understand the implemented characters that participate in the sequence of movement with respect to the approach route to the point of destination and its spatial relation of its parts, element and built form. Analyses and understand its relationship with the built form and also its role in generating an experience of the user.
RESEARCH QUESTIONS How is the movement sequence designed in any architectural space? How does it affect the experience of the user? What are the factors participating in the movement to guide the user in the journey through space?
METHODOLOGY The first part of the thesis will discuss the perception of space and role of movement in the phenomenon. The second part of the study will discuss the movement sequence its elements and patterns. The next part will be the analysis of movement sequence and understanding its relationship with the built form through the study of different built-forms formulating observations through it. Certain aspects are explained through analytical drawings and diagrams. 5
Introduction
Lastly, the inferences are drawn on the basis of the comparative discussion over the studied built-forms.
SCOPE AND LIMITATION The main intention of the thesis is to study the phenomenon of perception and movement; the research will draw the relationships between the two and also with the built form. The study majorly focuses on understanding the design of movement sequence thus, the examples and casestudies selected here will explore this aspect. The analysis is done in different types of architectural spaces in Ahmedabad city; i.e. traditional, recreational and modern built-form. The chief criteria for the selection of case studies have been according to the variations of the movement patterns. This study or analysis is based on the personal observations that may be subjective and vary from person to person. The given data i.e. images are mainly gathered through observation or experience.
6
CHAPTER
1
CHAPTER 1 PERCEPTION OF SPACE 1.1 BASIC PERCEPTION
Sensorial Perception Perceptual Organization Associational Perception
1.2 PERCEPTION OF SPACE THROUGH MOVEMENT
PERCEPTION OF SPACE
The process of Perception of The Space Phenomenon of Perception of The Space Movement; As an Integral Part of The Space Vision; A Primary Sense of Perception Visual Reality vs. Physical Reality Kinesthetic – As an Experiential Aspect
7
CHAPTER
1
1.1 BASIC PERCEPTION Perception As mentioned in the book by Lang Jon, ‘Creating Architectural Theory‘; ‘Perception is the process of obtaining information from and about one’s surroundings.’ ‘Perception’ is a complex phenomenon. In this process, many variables are involved. Space and time are important aspects in which the phenomenon of perception takes place. It is a sensory experience of the world around us. A person responds in a certain manner to any situation. This response is the mixture of the action by the person over the surrounding, and vice-versa. We obtain information about properties and elements of the surroundings through a perceptual process. Each event occurring in the process of perception has definite clues or messages in it. These messages are developed in the sub-conscious mind of the user. They are then connected by the user to the messages obtained from past experiences, beliefs and cultural surrounding. These messages through the process of encoding and decoding create a meaningful order in the space and help in guiding the movement through space. Three major levels of the process of perception are; 1. Sensorial 2. Perceptual organisation 3. Associational
2
1
8
fig. 1.1.1 Through the process of perception 1. At first sight, an individual sees an image of the old couple, but in detail he/she perceives different figures and elements which come together to form a complete image. It narrates a story within itself. 2. In this painting, the manner of placement of leaves creates an illusion of a bird. PERCEPTION OF SPACE
CHAPTER
1
Sensorial perception ‘A walk through a forest or a Japanese garden is invigorating and healing because of the essential interaction of all sense modalities reinforcing each other; our sense of reality is thus strengthened and articulated.’[1.1] As mentioned in the book ‘Questions of Perception, phenomenology of architecture’; perception and sensation create our experiences. More than one senses are involved in each experience of the space. Sensation agrees with the bodily senses and the exterior factors such as light, temperature and sound etc. These exterior factors are natural and variable, mostly changing and moving. They provoke an individual’s mind and eventually perception. Senses like touch, sight, smell, and hearing are part of the phenomenon of perception. A major role is played by vision. Sensation and perception build our experiences. The qualities of matter, space and scale are determined equally by our vision and other senses like ears, nose, tongue and muscles. Every experience of the space is multi-sensory. It may differ with the change of movement patterns, but the existing elements of the space remains constant. ‘As we open a door, our body weight meets the weight of the door; our legs measure the steps as we ascend a stair, our hand strokes the handrail and our entire body moves diagonally and dramatically through space.’ [1.2] As stated above, the sensorial experience is generated by both senses as well as qualitative aspects of the space. They differ according to the spatial environment. A spatial impression is created in our mind when our body and its movement are in continuous interaction with the surroundings through the looking at, listening to, touching and feeling.
As one enters the house made with wood, a typical smell enhances the space. Also, when an individual walks on the wooden floor; a voice is produced which gives the sense of wood. Whereas, a house made of the composition of various materials produce a different experience.
Smell: Smell is a sense that helps to identify places and moments for the lifetime. It can be associated with the past memory. Smell creates an overall environment of the space, that makes an individual aware of the change of space as each material has its own aroma.
fig. 1.1.2 The example showing the role of materials in influencing bodily senses. [1.1], [1.2] Holl, Steven & Others, Questions of perception; phenomenology of architecture, Tokyo A+U Publishing Co. Ltd. 2006 PERCEPTION OF SPACE
9
CHAPTER
1
Touch: Movement of the body is achieved by a person’s walking i.e. contacting the ground through the skin. The skin has the ability to read the texture, density, weight and temperature of the surface. It can be smooth or rough, hard or soft and hot or shaded. The touch of different material and sensation makes an individual conscious or unconscious of their position within the space.
1
Hearing: Hearing is a sense that is related to sound. It is absorbed and perceived through the entire body. Hearing creates 2 a sense of connection and interaction with the spaces. It also plays a role in guiding the further movement. fig. 1.1.3 This images emphasized the role of touch;
Echo is a sound that exceeds certain limits caused by materials or excessive height. It emphasizes qualities like vastness or depth of space. That can even help in directing movement. Relation of each sense and vision The sense of vision gives more extensive and accurate knowledge of the surrounding. I.e. the sense of touch is activated when the skin comes in contact with a stimulus. The sense of vision gives information from a distance regarding size, shape, color and location and other physical properties.
1. Walking on the unpolished rock makes one uncomfortable and thus requires constant attention from the user. Whereas walking on the sea sand is a smooth transition and thus does not require a lot of focus. 2. Flooring pattern and texture also helps to guide movement; visually and physically
The sound stimuli that is received through distance are rather limited, but the vision responds to distant object. The advantage of hearing over vision is that the sound can travel through any obstruction like the facade of the building. Perceptual organization Perceptual organization concerns the way in which the sensory information is organized and formed into a perceptual object, a precept. The clues and messages mediated through the senses are effective in the sensory thoughts. This is how experiences are generated. May it be a space or an object that we experience through perception, we mainly recall our past experiences of the space or object through association and remembrance. Two person may have completely different experiences of a particular space if it is experienced individually through association.
10
PERCEPTION OF SPACE
CHAPTER
1
Associational perception (Association and semiotics) Identification and recognition are related to the stage in the process where the past experiences and conceptual knowledge influence perception. The associational perception gets affected through semiotics. The notion about the religious signs, symbols and other objects help to create connections in mind which makes the provided information meaningful. For example, red colour is used as a warning sign. Semiotics is one aspect responsible for creating a connection between the user and the space. The visual clues like symbols and signs add to the significance of spatial organization. The connections are held through the sentiments and the beliefs attached to element. Many elements in the space also recommend associations and generate narratives which creates the experience of the space. “Semiotics influences the following; - Cultural associations of a person - Individual gestures/built elements can indicate more than one thing; - Impact on behaviour (attitude can follow body position, social behaviour pattern can follow the building communication characteristics); - Influence on the judgment of the space of the perceiver� [1.3] The body position communicates dominance and control in the space. Like architectural structures, characterized by huge distances and spread construction, the vertical composition forms an automatic connection of control and dominance over space. Associations can be through various aspects: Symbolic association Form association Color association Cultural association Traditional association
[1.3] Bhatt Ayushi, Phenomenon of movement through architecture spaces: understanding its role in the perception of space, Cept University, Ahmedabad, 2014 PERCEPTION OF SPACE
11
CHAPTER
1
Symbolic Associations fig. 1.1.4 The symbol signifies a cultural value and religious association. And orientation emphasizes perception.
1.
2.
1. A ‘Swastika’ symbol associated with Hindu religion. 2. When a ‘swastika‘ rotated at 45 degrees, has a different value and association to the Nazis.
Form Associations fig. 1.1.5 Due to the repeated use of domes, arches and gateways; the elements have become the identity of Mughal architecture. Thus, the use of such elements strongly forms an associations with the Mughal architecture.
Color Associations fig. 1.1.6 Every religion is known through various aspects, where color is the one. The images of ‘Dargah’ is emphasized through ‘green’ color in Islamic religion.
Cultural Associations fig. 1.1.7 Taj Mahal is a monument that not only renders as an event and object of the past. But, even its cultural values and narrative, keeps it alive in the present.
Traditional Associations fig. 1.1.8 Traditions stay alive through their practice even though its roots are in the past; expressed in ‘rathyatra’ - a public procession with a chariot of deities. Tradition is constantly progressing and updating, combining the old and new. This makes the traditions survive.
12
PERCEPTION OF SPACE
CHAPTER
1
1.2 Perception of space through movement The process of perception of the space ‘Space perception occurs in the presence of perceivable things.’ [1.4] Understanding of the space through an experiential perspective deals with the process of perception. This process involves object or entities of the environment that identify different relationships in the mind of the perceiver. This process is majorly dependent on the extent to which an object leaves an impressions on the senses of the perceiver. And this generates an experience of space through a perceptual process. The process is organized in a notional order for the aspect of the movement. Phenomenon of perception of the space Space is an extended entity that allows movement. Spaces are not perceived from one static point. Its perception changes with the change in the position of the perceiver. Architecture comprises of series of events through the spaces. These events and spaces are linked through the process of movement. This makes movement a spacetime phenomenon. This phenomenon involves elements in spaces and entities in the environment that leaves an impression on an individual’s senses. ‘A temporal event made up of innumerable individual impressions that are integrated into a total perceptual image’.[1.5] In the perception of space, the spatial organization of space, element and their various spatial relationships generate experiences. Space is experienced through various levels and understanding of spatial organization and quality. An individual acquires a sense of direction when there is a shift in axis within the space. Here, movement and perception helps an individual to engage with spaces. It also provides various conditions (through a choice of location) of comfort in the space. Thus, space is experienced through the perception while in motion.
[1.4], [1.5] Rudolf Arnheim, The dynamics of architectural form, University of California press, 1977 PERCEPTION OF SPACE
13
CHAPTER
1
Movement; as an integral part of the space “Every human being is extended because it shows an inner and an outer face, it shows a tension spreading in space(similar to its tension unfolding in time), it shows an inner and outer face, it has not filled the whole space, as it were. This extension allows for growth, movement and change, in space.” [1.6] Space is a feature of existence that allows movement as a dynamic attribute. The spaces belong to being, and movement is intrinsic to being. Therefore, space is an essence of existence that allows the movement to be part of. The movement happens through a subject and an object. Subject i.e. an individual which carries out a source of movement and an objects i.e. a space which emphasized a position the locus of movement. It provides clues for the further journey. “As in a wild jungle one cuts new paths in order to progress further, man builds roads of perception on which he is able to approach the mobile world, to discover order in its relationships. To build these avenues of a perceptual grasp he relies on certain natural factors. One is the nature of the retina, the sensitive surface on which the mobile panorama is projected. The second is the sense of movement of his body – the kinesthetics sensation of his eye muscles, limbs head, which have direct correspondence with the happenings around him” [1.7] As stated above, The concept of movement is a phenomenon of VISION and KINESTHETICS. These aspects helps an individual to order the movement and understand the spatial organization of built form. Hence, these aspects play a significant role in perceiving and understanding a space of built form.
fig. 1.2.1 Movement as an integral part of the space [1.6] Pannikkar, in the article- ‘There is no outer space without an inner space’, from book ‘the concept of space’ by kapilavatsyasan, pg-25 [1.7] Gyorgy Kepes, Language of Vision, Courier Corporation, 1995
14
PERCEPTION OF SPACE
CHAPTER
1
1
Villa Savoye by Le Corbusier The ramp and staircase, two major elements that represent the aspect of movement The ramp and staircase are the two major elements that generate movement in Villa Savoye. The ramp is main movement element that runs from the lower level till the rooftop garden. It acts as connecting devices of all the spaces. The ramp passes by the spaces. Thus, visually it can be seen from majority spaces of the villa.
2 fig. 1.2.2 The red lines demonstrate the two modes of circulation through the house, which is moving between each floor. 1. Movement passes through the ramp. 2. Movement passes through the spiral staircase. PERCEPTION OF SPACE
The spiral staircase is the shorter movement that connects all the spaces. It forms a continuous movement till the destination. The staircase emphasizes a vertical circulation whereas, the ramp is horizontal circulation which gradually takes to the upper level. 15
CHAPTER
1
Vision; a primary sense of perception Vision is a significant factor that plays an important role in the process of perception. This sense allows the perceiver to observe one’s self with the environment. Vision or seeing is the sense that makes an individual aware of the existence of things. And, perception is a process that involves one’s body and its spatial position in space. Perception influenced by the mind and other senses of hearing, smell, tactility and visual. Architecture or space is perceived through relation of all the senses that influence perception and generates an experience. “Visual communication is universal and international: it knows no limits of tongue, vocabulary or grammar and it can be perceived by the illiterate as well as the literate. Visual language can convey facts and ideas in a wider range than almost any other means of communication. It can be reinforce static verbal concept with the sensory vitality of dynamic imagery.” [1.8] As stated in book of Gyorgy Kepes ‘language of vision’, the language of vision is an optical communication that adopts knowledge more effectively. It is a tool of communicating between an individual and his/her surrounding environment. It helps an individual to rely upon and to express an experience in the form of an object that becomes necessary in an architectural space to confine. The visual experience depends on an individual’s interaction with the surrounding and the position of own self. As the experience is a consequence of the perceptual process, an optical data (creation an image) of various entities in the environment becomes a part of it.
fig. 1.2.3 Vision as tool of experiential phenomenon [1.8], [1.9] Gyorgy Kepes, Language of Vision, Courier Corporation, 1995
16
PERCEPTION OF SPACE
CHAPTER
1
“The experience of every image is the result of an interaction between external physical forces and internal forces of the individual as he assimilates, orders and molds external forces to his own measures.“[1.9] An individual receives information of space through an optical data. The combination of this information, assumptions of that space and supportive past experience creates an image in one’s mind about the environment. It differs from person to person. The information gained in the images has various aspects i.e. a location of the space, form, material, scale, the degree of enclosure, symbolic association. Participation of these aspects creates the responses that encourage the experience. These images or data come together to organize the perceptual process that comprises of meaningful text, evokes associations, events and creates emotional, conscious responses. This process builds a relationship and understanding (encounter while perceiving) through visual laws (as stated by gestalt), that influences the sense of unity in the established environment. “The eyes react to visual expression because its element effect physiological and psychological perception. After some experience, it is possible to discriminate between such elements and thus use them more skilfully and consciously in order to create a stronger emotional impact upon the spectator. It is never the objects itself, not even the actual fragments used in the cubists collages, which affect the spectator, but their direct and pure visual meaning and their combination into a coherent visual order” [1.10]
2.
Therefore, the visual laws play an essential role to understand the process of perception.
fig. 1.2.4 Visual perception through an illusion of figure and ground; when one sees these images, the mind gets involved in the process of perceiving the figure ground relationship. Through the created illusion, the result of perception develops. 1. Two layers of triangle are perceived through the white background, black line and emphasized corners through circles 2. One perceives two faces in black with context to pot on white background [1.10] Moholy, Nagy, Vision in motion, Paul Theobald, The Wisconsin Cuneo press, Chicago, 1947 PERCEPTION OF SPACE
1. 17
CHAPTER
1
2
Example of visual perception through Parthenon A thousand year ago, a visual perception was being implemented in the design of Parthenon. The visual perception in Parthenon is signified through: The ‘entasis’ of the columns, the inclinations from the vertical in columns, The curve of the stylobate, The taper of the naos walls A slight curvature of the whole building which is hardly visible with the naked eye was introduced to counteract distortions of human visual perception. Columns are slightly ‘swell‘ from the center and even all the columns are made to be inclined inward of the built form. Due to this, it creates an appearance of a sharp straight axis from all the direction. When viewing up closely they appear even taller than they are, due to exaggeration of the perspective through tapering. The surface of column possesses consistency of concave flutes that makes the shading more noticeable. 18
1 fig. 1.2.5 The phenomenon of visual perception implemented in Parthenon, Athens, Greece 1. Diagram showing the Minimal ‘Swelling’ of columns from the center; ‘entasis’ and The inclinations from the vertical 2. Columns were slightly inclined towards inside the built form; to make it look straight from the distance and directions PERCEPTION OF SPACE
CHAPTER
1
Visual reality vs. physical reality When an individual moves around within a space, different planes and elements come together forming various visual frames. Each Frame has a different perspective of the space. These compositions that are formed possess different visual qualities which may vary for different users depending on their physical location and direction. Various visual frames, compositions, and alignments come together to create optical illusions and visual imagery. Varied architectural elements, their sizes, scale and juxtapositioning of the resulting visual frames perceived by the user while moving. Which establishes relationships of the user with the space. Along with the change in user’s physical position while in motion, the field of vision and perception of the space constantly changes. Hence, all these factors play a major role in making the journey interesting and engaging. These principles can be seen in the ‘vav’ architecture of Ahmedabad. Different elements and planes come together forming visual frames which gives a feel of the straight visual axis of movement to the user on entering the vav. But actual physical movement within the vav is vertically downwards towards the water-body. This movement and changing visual fields generate various optical illusions by forming a creative spatial narrative. Thus, this makes the downward journey interesting. This can also be very well understood in the cave architecture of India. According to the architect Ron Lane Smith, ‘the early cave temples derive proportions and pauses putting into effect the principles of visual perception at the human eye-level and using the visual axis at different points to bring out or hide selectively as an individual moves through.’
Reference: Pandya Yatin, Concepts of space in traditional indian architecture, Mapin publishing Pvt. Ltd in 2005 PERCEPTION OF SPACE
19
CHAPTER
1
Kinesthetics When an individual views an object, he tries to understand it completely through eyes. This leads the perceptual process to be incomplete as it forms a stationary image from a specific point. Therefore, a temporal quality is proposed with the help of movement, to make a complete phenomenon. Moreover, the sensation of movement cannot be obtained through visual stimulation alone. A moving experience is introduced by the sensation of muscle movement which is termed as Kinesthetics sensation. As mention in the book by Luis Barragan, “the eye embodied”, kinesthetic is an idea of aesthetics in the sense which is ‘characterised by a heightened sensitivity to beauty’. It is not only responsible for the detection of bodily position, weight, or movement of the muscles, joints and tendons. As per Luis Barragan, it is more preferable to say it ‘kine-aesthetic‘ experience. Kinesthetic – as an experiential aspect ‘The kinesthetic experience involves subtle choreography of movement and the sequences of atmospheres (physical and spiritual) that the users and visitors will constantly get involved in while experiencing the architecture and setting of space and light, material and color, of smell and sound, movement and time.’ [1.11] Kinesthetics does not relate to senses only as it also affects user’s experience of the space. The way an individual perceives the space with their position in space, movement in context to real time plays a major role that leaves experiential impacts. “The movement of the body, though it is not one of the five senses, provides him with a measure for objects and space. Passing through, visiting, dancing, gestures – all allows us to appreciate the splendour and exploration of that which is hidden” [1.12] The aspects of kinesthetics influence the movement and interaction in space. This ensures an individual’s perception of the space they are situated in by their inner sense. Through the senses an individual tries to familiarize with the space. Kinesthetics help him/her to know it in a holistic manner.
20
[1.11] Bergh, Wim Van Den, Luis Barragan: The eye embodied, Maastricht Pale Pink Publishers 2006 [1.12] Meiss, Pierre Von, Elements of architecture: from form to place, E & FN, London, 1990 PERCEPTION OF SPACE
CHAPTER
1
Every event occurring in the process of perception has some clues or messages in it. An individual develops these messages in their sub-conscious mind. The user forms association of these messages or clues with messages obtained from past experiences, beliefs and cultural influences. These messages further generate a meaningful sequence in the space through the process of encoding and decoding which guides the further movement in space. As an individual moves ahead, their body obtains the stimuli from the environment, due to which various connections and spatial relationships are formed. The perception about the space of an individual gets influenced by this. “Space is perceived by the visualization of its limits and by kinesthetic experience, i.e., by the sensation of our movements, In the state of ‘visual tension’, kinesthetic sensation and visual perception fuse most intensely....”[1.13] Kinesthetics experience through Millowners Association Building in Ahmedabad by Le Corbusier Here, an experience of the built form is generated through bodily movement. This happens through sequencing of space and creating space-time relationships. The use of elements like ramp and staircase allows the transition. The ramp protruding out against the facade of built form, emphasizes an entrance. It takes an individual upwards to the first floor and creates a gradual transition. Though it is bounded by the physical boundary between two spaces, the ramp itself forms the space. While moving through the ramp, an individual gets a view of outside as well as the dramatic perspective through constantly changing light and shadow. It also establishes relationships between the user and the built-environment. The central positioning of ramp and its termination under the double volume emphasizes a welcoming effect. fig. 1.2.6 Three images showing the outside and inside organisation of spaces; The ramp, while moving on, the whole body and mind get involved in the phenomenon as the body feels an opposing force that produces an obstruction in the movement.
As the built form establishes the relationship between outside and inside, it creates a world within a world, as in small spaces covered by a big square box. This composition allows an individual to take ‘pause‘ or ‘interval‘ of their choice to explore the spaces. It enhances the user’s experience and thus his/her perception.
[1.13] Zucker Paul, Town and Square, New York Columbia Uni. Press. 1959 PERCEPTION OF SPACE
21
CHAPTER
1
Time and space The aspect of time becomes a vital factor in the perception of space during movement. The phenomenon of movement unfolds the spaces in sequential manner with time. ‘Movement is the process of relocation of objects in space over time’.[1.14] As an individual moves ahead, the perception of the space and the surrounding keeps on changing gradually depending on one’s location in the space with respect to time. In the book “Body, memory and Architecture” written by Robert J. Yudell; it is stated that buildings can provide as a stage for movement. Which inspire dialogue between themselves and the human body with respect to time. Various relationships are developed due to the encouragement of bodily movement through the elements of circulation. “Time is not static. It is helical, evolving continuously. The concept of change is inexorably tied to the concept of time. The past and future are distinct domains in the continuum of time within which change occurs as a sequential series of events.“ [1.15]
1
This aspect of time with respect to space is introduced through a sequence of movement in architecture. Here, the time is very important and active aspect which creates a constant impact on mind and make the built form alive through the spatial environment. fig. 1.2.7 Representing the aspects of time and space (how time renders the same space differently) Manek Chowk, Ahmedabad, Where the same space is rendered differently at different time of the day.
2
1. Early morning, 6.00 a.m. to 8.00 a.m. In the early morning, space is occupied by cows, where people come to feed the grass. 2. Business hours, 9.00 a.m. to 8.00 p.m. The same space is occupied by hawkers, shops, people and parking for business.
3 Example reference: Pandya Yatin, Concepts of
3. Late evening, 9.00 a.m. to 1.00 a.m. space in traditional indian architecture, Mapin The same space converted into outdoor publishing Pvt. Ltd in 2005 eatery. [1.14] Jirousek Charlotte, Art, Design, and Visual Thinking, online textbook
[1.15] Pandya Yatin, Concepts of space in traditional indian architecture, Mapin publishing Pvt. Ltd in 2005
22
PERCEPTION OF SPACE
CHAPTER
2
CHAPTER 2 Movement 2.1 movement through the spaces Basic Movement Patterns and Elements
2.2 the structure of movement
Approach; Entrance; Path; Relationship of The Path and Space; Destination Space
2.3 the nature of movement 2.4 communicative factors in the movement
MOVEMENT
The Nature of Clues
23
CHAPTER
2
2.1 MOVEMENT THROUGH THE SPACES Movement is a process that gives an experience of any space through vision and its perception. The act of entering a space is emphasized by the change in organization of spatial elements. When an individual moves through a space he/she starts perceiving and gaining an experience of the surrounding. The changing organization and relationship between elements and spaces establishes the process of movement. Basic movement patterns and elements Patterns; “The movement of the body, though is not one of the five senses, provides him with a measure of objects and space. Passing through, visiting, dancing, gestures- all allow us to appreciate the splendor and exploration of that which is hidden.� [2.1] As an individual moves further in any space, the sixth sense develops and makes one visualize and perceive the space with relation to their environment. This space is perceived and experienced differently by different people. An individual can go from one space to another through various ways in the same built form. These patterns are influenced by different elements in various ways. Therefore, the path of movement is designed in a particular way to develop a desired spatial experience in a space. The movement patterns in a space depend on the configuration of the path of circulation. It is obvious that in any built form, the destination spaces are given more importance than the path leading to these spaces. But It is also crucial to give attention to the movement path. It plays a major role in enhancing the character of the built form. It urges one to think and interpret about the destination. The destination space and the transitional phase together should consist of a built experience. Elements; Majorly, vertical and horizontal movements are considered in architecture. The movement through a staircase, ramps and elevators falls under a vertical movement. Whereas, circulation on the same level falls under the horizontal movement.
24
[2.1] Meiss, Pierre Von, Elements of architecture: from form to place, E & FN, London, 1990 MOVEMENT
CHAPTER
2
The movement in some spaces are made in an elaborate manner with manually designed staircase and ramps. Many entrance areas are developed and emphasized by permitting space to flow through vertically from different levels by the stairs or ramps rather than breaking it by platforms. Types of nature of movement through organization and spatial narratives As mentioned in the book of Gyorgy Kepes, ‘Language of Vision‘; “The most evident characteristics of movement are its unity, its dynamic continuity.” Movement comprises of certain types of nature through the organization of built form and spatial narratives according to the ideology of design. Nature of movement can be classified as follows: Continuous path of movement, A spiral ramp is the major element Sequential unfolding of spaces, of movement. It indicates a smooth Indirect path of movement, continuous flow of vertical movement. Constantly offers choices of path for further movement. The path of movement passes through the six floor and galleries. It continuously generates experiences. A central space act as a pause point.
Continuous path of movement fig. 2.1.1 Continuous path of movement Movement carries the aspects of continuity, sequence through Guggenheim museum, New York, and flow that helps one to understand the overall By Frank Lloyd Wright. phenomenon. Continuity – when consistent elements reappear in a consecutive manner. Sequence – consistent events appear in a logical order. Flow – consistent smooth movement that appears with the change of direction caused by external forces.
fig. 2.1.2 The indirect approach to the Chapel of Notre Dame du Haut, Ronchamp designed by Le Corbusier.
Indirect path of movement Usually, the indirect path of movement is achieved through the increased length of the path and time that helps in conditioning the mind throughout the journey. This aspect involves a duration of time that constantly plays a role in changing and rendering a path or space differently.
The movement offers one to choose a path as per need and involvement. Here, the variation in spatiality allows The chapel is situated on the hill. Thus, the journey till destination established a flexible movement. The journey of indirect movement relationship between the visitor and the plays a major role in engaging with the spatiality through surrounding context to the built form. pauses prompted due to turns or shift in axis. The path takes around the chapel that force one to perceive the built form first, have a glimpse and then leading into space. MOVEMENT
25
CHAPTER
2
Sequential unfolding of spaces The space in a building are developed by the goal or the path. The movement through space direct towards the goal i.e. the final destination. The possibilities of movement in the space has been predetermined by the architectural organization of that built form. The visitor moves ahead from the entrance and passes through a series of spatial entities, that generates an experience. As one move through the built-form, the spaces appear to gradually establish various relationships. This method of unfolding spaces becomes more interactive with the visual senses. The first phase is the transition is a preludes to the space. N The barriers put in between gives pauses and intervals 0 10 20m and also help to orient and discover a new dimension in fig. 2.1.3 The path of movement that the space. The shifting axis of movement in the space sequentially unfolds the spaces in The sun helps gradual unfolding of various aspects. temple, modhera. Constantly offers choices of path for further movement The circulation path is organized in such a way that it forms multiple growth or intersection of the axis which constantly offer choices to an individual to choose the further journey. The aspect of random movement path gives a freedom to an individual.
The physical movement is diverted from the visual axis near the water body. Later, the continuity of the visual axis is maintained through merging of both the axis.
Majorly, one reorients the axis of movement according to the orientation of spaces and its threshold. As per an individual’s position, one acquires clues and choices of the path and selects according to personal preferences and pursuits.
N 0
26
15
30m
fig. 2.1.4 Bharat bhavan, Bhopal. The path of movement continuously offers choices for further movement, as per the choice of destination. The possible directions are emphasized through the thresholds in spaces that lead to other space. This helps to reorient the movement axis and offers various pauses and intervals.
MOVEMENT
CHAPTER
2
2.2 STRUCTURE OF THE MOVEMENT The movement is a way for connecting one space to another within the building. It is a process of motion within a static entity. The movement within a built form offers a spatial experience and establishes spatial relationships. Vice versa a spatial experience demands a physical movement of the user within the built environment. ‘The path of our movement can be conceived as the perceptual thread that links the spaces of a building, or any series of interior and exterior spaces, together.’ [2.2] Structuring of movement in architectural design, creates inherent joy as well as an engagement with the series of spaces along the movement. The sequential structure of movement organizes spaces with various events and phenomenas. The final destination is not the only goal of movement. It comprises of various other aspects which together form a structure of movement. Hence, the structure of movement becomes ineluctable. The structure of movement comprises of; Approach - the distant view
Entrance – from outside to inside
Path – the sequence of spaces
Relationship of the path and the space – edges and nodes of the path
Destination space – a goal of built form
[2.2] Ching Francis D.K, Architecture: form, space and order, Van Nostrand Reinhold, 1996 MOVEMENT
27
CHAPTER
2
APPROACH An approach is the first stage of movement structure. It is a prelude to the movement path that signifies the initial conceptualizing of the built form. This duration provides enough time to establish an image of the basic form of the building in mind. It also prepares an individual for the usage of the spaces within the built form. According to the book of Ching Francis D.K, ‘Architecture: form, space and order’, The approach is a part of movement pattern to a built form can be classified as: 1. FRONTAL APPROACH 2. OBLIQUE APPROACH 3. SPIRAL APPROACH Frontal Approach: A frontal approach based on a straight, axial path leading directly to the entrance of the building. The visual axis remains constant and clear towards the destination.
1.
2.
Oblique Approach: The path of oblique approach is redirected one or many times to delay and prolong the sequence of approach. It emphasizes the characteristics of informality. Spiral Approach: The path of spiral approach prolongs the sequence and emphasizes the three dimensional form of the building. 3. The path takes one around the perimeter of the built form. This motion gives a dramatic effect to entrance of fig. 2.2.1 Figures showing the characteristic the built form and enhances the surrounding. of three approach.
1
3 2
fig. 2.2.2 Highlighted path represents
1. Frontal approach; Villa Barbaro- emphasized a directness, which reveals the destination in the beginning. 2. Oblique approach; Glass house- gives choices of path, and emphasizes the characteristics of informality. 3. Spiral approach; Villa Hutheesing- hidden approach, that makes an individual curious through out the journey.
28
MOVEMENT
CHAPTER
2
ENTRANCE An entrance is the most important aspect of the built form. It is majorly linked with the design and reflects the ideology of the built form.
1.
2.
Entrance space does not only includes a door to pass by, but it is a process of transition from one space to another. Amongst the various transitional spaces in a built form, an entrance space is the only transition space that acts as a physical link between outdoor and indoor environment. It plays a dual role to guide the movement from a space to the next. The type of entrance spaces and the function of built form plays an important role in the design of organization of movement. The built form should have entrances that are well defined and should act as a representative of a welcoming space. From the kind of entrance, one starts perceiving and preconceiving the space within the building. As in religious places entrances are highly emphasized or articulated while in certain places like residences they are subtle. The entrance space is always a memorable phase of the entire journey of movement.
3. fig. 2.2.3 Figures showing the characteristic of three type entrance that announce the point of entry, 1. Flush 2. Projected 3. Recessed
1
2
3 MOVEMENT
fig. 2.2.4 Images representing different entrances of the building 1. Scale forms a gradual transition from out side to inside, Buland Darwaza, Fatehpur Sikri. 2. The series of column flush with the form where recess emphasizes the entrance door; Bolo Hauz Mosque in Bukhara, Uzbekistan. 3. Highly ornate, stand alone entrance, Gopuram.
29
CHAPTER
2
1. Threshold - a part of Entrance An entrance space is one such inter space between the defined field of exterior and interior space. It is the first internal aspect of a built form that reflects the character of the building and its inmates. Therefore, an entrance space act as a threshold between the public and private realm. A threshold is a spatial nature of the pause point of an intermediate zone between two spaces. “Each relationship between two places or between interior and exterior proceeds from two aspects of dependence. It provides separation and connection or in other words, differentiation and transition, interruption and continuity, boundary and crossing. Thresholds and spaces of transition becomes places in their turn, ‘places in which the world, reverses itself” [2.3] A threshold controls the permeability of limit, confirming spatial discontinuity. At the same time, it also allows an individual to pass through it physically which creates an awareness of change of space. More thresholds give rise to a sequence of movement. A threshold is a pause that signifies the static movement fig. 2.2.5 Figures represent the type of and gives a break to observe one’s position with respect threshold that emphasize change of space to the built form. at the entrance, through change in levels, floor texture and vertical planes.
Threshold, is a function of static space with a quality of transition from outer world to inner
1
2
Transition of spaces; three categories 1. Physical form; represents the gradual transition. 2. Visual form; represents the sudden, contrast transition; Chapel of St. Basil, Houston. 3. Notional; ‘Rangoli’ act as notional threshold; emphasize entrance as well as diverts the physical axis.
30
3 fig. 2.2.6 The images define the role of threshold in the entrance; that in a way act as a bridge - bridging two or more similar or dissimilar nature of spaces. [2.3] Meiss, Pierre Von, Elements of architecture: from form to place, E & FN, London, 1990 MOVEMENT
CHAPTER
2
Path /Sequence The movement along a path; the sequence is attributed to continuity. It emphasizes the temporal dimension of the space. The path involves a series of events that occur in a proper order with respect to built form over time. This becomes important to gain experience of the space.
[2.4]
Thus, sequence holds a significant position in the path of movement. It is through this moving experience that one encounters the relationship with the environment. The perception of the space depends on how one engages and experiences the space. The sequence brings an experiential order and at the same time, it is very important to maintain the continuity in the journey. Continuity is maintained by the consistency of motion, space surface, element or through principal features like repetition, similarity and rhythm. ‘The architectural sequence of movement includes three relations; Sequence as beginnings, middles and ends Beginning - as an introduction, entrance, preparation. Middle - as development, transition, elaboration, climax. End - as a conclusion, exit. Sequence as celebrated path - Sequence as progression and motion. - Sequence as a celebrated journey. - Sequence as a spatial journey. - Sequence as a narrative. Sequence and arrangement of events - Clues and references - Decision making points in the sequence - Pause points in the sequence - Transition points in the sequence - Creation of a scenario, environment - Intervals - Sequence of spatial events, episodes, unfolding of A glass window, depicting a meaning of the event through sequential placement of the spaces and places and events’ [2.5] figures and spatial organization.
fig. 2.2.7 Sequence helps to understand a connection of various entities.
[2.4] Ching Francis D.K, Architecture: form, space and order, Van Nostrand Reinhold, 1996 [2.5] Bhatt, Ayushi, Phenomenon of movement through architecture spaces: understanding its role in the perception of space, Cept University, Ahmedabad, 2014 MOVEMENT
31
CHAPTER
2
1. Pause The pause is a physical break in continuity of movement that possesses a positive quality. A pause emphasizes a connection of the user with space and induces an effective transition. A pause is momentary and difficult to measure. Various elements play a role to enhance the character and position of a pause in the movement path. 2. Interval An interval is a part of the movement path where the aspect of time increases. Unlike ‘pause’ it is a measurable entity of time in the movement. It can be loosely said as an elongated pause, which may or may not be static. It can be very short or instantaneous in the measurement of time, velocity or volume. But it is more recognizable in a long journey as compared with the momentary recognition of pause. Its recognition comes with repetition of elements. The repetition of visual and spatial elements at intervals creates rhythm.
fig. 2.2.8 Patterns achieved through repetition of module in manner of horizontal sequence, where the platform in between act as pause; a physical pause Chandbaori stepwell, Abhaneri.
Notion of Pause
fig. 2.2.9 Vertical element of the stone carving, repeatedly act as a pause in the sequence of break in module; a visual pause.
32
MOVEMENT
CHAPTER
2
3. Repetition or rhythm The eye tends to bind the same things or element together. Repetition of the elements in architecture form a rhythm, like a flow of music. It is the simple principle of composition that builds the diversity of experience in a coherent order. A good work that creates a visual synthesis is due to a rhythmic sequence. The rich and coherent sequence of a rhythm enhances perceiver’s awareness and pleasure of motion in the environment.
Repetition of form gives a rise to the sequence
fig. 2.2.10 Repetition of form gives a rise to the sequence, ornate door and glass window.
fig. 2.2.11 Co-ordination series, rhythm of Amsterdam houses through a slight differentiation of pattern, rhythm of windows, uniform wide rhythm of houses at gable levels. MOVEMENT
33
CHAPTER
2
4. Nodes Nodes occur where an intersection of the axis of path occurs. It is even placed where intensive activities are held. Nodes are kind of the point of reference, at which the observer re-establishes their relation with the destination. It occurs at the junction where there is a change in direction of movement. Nodes can also occur through the change in spatial environment which can be characterized by variation in light and texture. This change in spatiality also affects the human senses. All these changes while moving gives a new visual experience at every moment thus creating a sequence. Spanish steps, Rome, Italy
By Francesco de Sanctis and Alessandro Specchi Pause Pauses are occurring on the landing, that gives a short physical break in the continuous journey Interval It interrupts the rhythmic sequence, gives a long physical break that allows one to spend time and observe surrounding space and environment Repetition or rhythm Here, a step is a form, repeated in certain manner that creates a rhythm and even gives rise to sequence of movement Nodes It is occurring at each point of changing direction of movement
N 0
15m
fig. 2.2.12 The staircase is the one and the only major element that forms the whole movement sequence.
1
2 34
The visitor’s perception is affected through changing the direction of the movement. It also creates various experiences through out the journey. The series of steps keeps one continuously conscious of their each move and position towards the destination. Intervals and pauses are created through the landings and make the whole phenomenon engaging and ceremonial. 1. Upward movement 2. Downward view from the first interval MOVEMENT
CHAPTER
2
RELATIONSHIP WITH PATH AND SPACE According to the book of Ching Francis D.K, ‘Architecture: form, space and order’, The relationship with the path and space are related in the following manner; Path – passes by spaces The spaces are organized along the sides of the path way. The path generates a link with the spaces. Though it is connected, both define them individually. This gives flexibility of movement to choose a respective space of destination or just pass by.
Path – passes through spaces The path passes through spaces. It does not stand independently rather it merges with the spaces. The path cutting through spaces create patterns of rest and movement within it.
Path – terminates in a space The path has one focus destination to reach. This depends on the location of space. This organization is used to approach the space which is functionally or symbolically important.
DESTINATION All elements emphasizing the movement lead to the destination spaces. Sometimes it is possible that the destination is not a single entity or independent space but it is a part of the phenomena of the movement, the journey.
MOVEMENT
35
CHAPTER
2
1.
2.
3.
fig. 2.3.1 The given figures of plan represent the implementation of nature of movement in the built form. 1. A linear movement; Canterbury Cathedral 2. A radial movement; Eastern State Penitentiary 3. A spiral movement; Museum of Endless growth 4. A grid movement; Roman camp
4.
Reference: Ching, Francis D.K, Architecture: form, space and order, Van Nostrand Reinhold, 1996
36
MOVEMENT
CHAPTER
2
2.3 NATURE OF THE MOVEMENT Movement is a phenomenon taking place in space and time. The basic movement pattern is dependent on the manner of sequence, pauses and intervals that take place. The pattern is based on the configuration of the path.
1.
The nature of the configuration of the path depends on the organization of spaces and their links. According to the book of Ching Francis D.K, ‘Architecture: form, space and order’, it could be as follows: 1. Linear: This configuration consists a straight or linear path of movement of the space towards a destination. A linear path passes through sequentially arranged spaces. The movement can be straight, curvilinear or segmented, intersect other paths, have branches or form a loop.
2.
3.
2. Radial: This configuration consists the path extending from a central point. From a single central point, movement fades towards the different path for different destination goal. 3. Spiral: This configuration consists a single continues path, originating from the center and revolving around it. It also happens in a three-dimensional manner. The spiral movement happens in the following manner; • The central destination and movement around it • The spiral organized path leading towards the Destination 4. Grid: This configuration consists two sets of paths, that intersect at regular intervals hence separating spaces through forming a grid-like configuration. 5. Network: This configuration consists of random movement path that connects established points in space forming the network.
4.
6. Composite: This configuration consists a combination of preceded patterns.
5. MOVEMENT
37
CHAPTER
2
2.4 COMMUNICATIVE FACTORS IN THE MOVEMENT The experience through architecture is composed of various views taken at the different moment while moving through space. This experiential phenomenon is fulfilled only if all images make a coherent and complete idea. A sequence of images and their linking to each other is achieved through the process of movement. The linking of each part to whole act as a cognitive process, and here the part itself has the connection to adjoining images. Thus, the reference links are the clues that denote messages for movement. THE NATURE OF CLUES: “Space is conceived on the basis of several aspects like its physical manifestation through architectural elements: columns, walls, ceilings, openings, etc. Perceived in the presence of light� [2.6] These elements merge with each other in a particular manner through properties that create various spatial relationships to enrich the experience. This relationship responds to an organized form to communicate a particular meaning. The linking of formal element necessitates a certain order for the spatial relationships and experience. The movement is a basic element of experience in architecture. The whole process of movement is achieved through the linking of spaces in a sequential manner. Each space has certain qualities, which act as a clue in the perceptual process. This even helps the perceiver to move further in a directed direction. Thus, the spatiality is a major communicating factor in experiencing architecture or the clue in the perception during the movement. This spatiality affecting movement comes in various manners depending upon the type of built form. Some of the basic factors are described as below: 1.Orientation 2.Reference 3.Degree of accessibility (visual and physical) 4.Layering 5.Light 6.Symbolism
38
[2.6] Yi-Fu Tuan, Space and Place: The Perspective of Experience, Edward Arnold (publishers) Ltd., London, 1977 MOVEMENT
CHAPTER
2
1. Orientation: Orientation, ‘to find one’s way around’ as stated by Rob Krier, signifies a direction with regard to the position, a location of the spectator (where the one is) in the surrounded environment. Orientation occurs through the observer in the A linear axis of movement through a relationship between objects and references within the plaza and vertical facade of the building, built form. An architecture of the built form includes orienting the space towards the valley, various interconnection of spaces through the principles Salk Institute. like juxtaposition, superimposition, penetration and fig. 2.4.1 Orientation is a spatial factor interlocking of volumetric space. These interconnections that defines the further direction. are seen through images in a sequential progression. The perception of focus in the image regulates the movement.
Acting as radial reference from any direction of the cit, guides the movement, St Paul’s Cathedral. fig. 2.4.2 Reference, as a clue of movement
1
2. Reference System: As per the dictionary, reference system means “directing the attention to a person or a thing”. The references are usually a simply defined physical object through building, sign, store, mountains or natural element.[2.7] The elements which are seen from many angles and distant location, act as symbolized direction i.e. landmark. The directional reference enhances the significance of symbolic value along with visual importance.
3. Degree of accessibility (visual and physical) In a spatial organization, the spaces are perceived in a sequential manner through a clue for the next move. This clue is legible through the degree of accessibility. The degree of accessibility is determined visually and physically in a movement. Visual Aspects: Transparency is one of the aspects that allow the visual communication. The degrees of openness is gained through the punctures and opening which allows the flow of space. It communicates the nature of space and guides the sequence of movement.
2
Physical Aspects: 1. Visual aspects of degree of accessibility, Permeability is the aspect that adds transparency. This transparency. aspect allows the physical movement. The kinesthetic 2. Physical aspects of degree of accessibility, part of movement becomes active through this. permeability. fig. 2.4.3 Degree of accessibility
[2.7] Kevin Lynch, Image of The City, Harvard University Press, Cambridge, 1960 MOVEMENT
39
CHAPTER
2
4. Layering: Layering is the organization of physical elements according to functional requirement and visible order in the movement to pass from one realm to the other in sequence. This aspect regulates the sequential movement and its character. The principle of hierarchy in layering helps to understand the value of functional differences, formal and symbolic criteria in the spaces. In a way, it provides a clue to the perceiver.
5. Light: Light is an important phenomenon of a movement that holds the visual perception of the space within. Light makes a volume perceptible and exposes for observation. In another way, light is such an expressive factor that justifies the shape, texture and highlights a certain element in the space. In sequential spaces, light plays a role to connect all the indicated clues according to function and order of spaces. It also guides the movement and gives experience through an intensity of light, depth of darkness, from small to large, narrow to wide.
fig. 2.4.4 Layering emphasized hierarchy of the spaces, Kanchipuram VaikunthaPerumal temple.
1
It distributes the relation of space to another space to setup an overall ambiance, mood and enriches the spatial experiences through movement. 2
6. Symbolism: Various meanings have been derived from the various symbolic forms that transcend the temporal and spatial dimension to create an environment.
1. Light makes a volume perceptible and exposes for the observation. 2. Sequence of light and shadow connects all the physical element and guide the movement. fig. 2.4.5 Light enhance the over all ambiance, even help to direct a movement.
It can be created through an object, element, signs, articulation, religion, art and even language of form. Each of these physical elements carries a certain meaning that represents an ideology and through its position in the space and movement of the perceiver, symbolism is generated. Symbolism in art and religion are related to the culture and social structure. These aspects create a human communication and co-operation with a particular consequence.[2.8]
[2.8] Norberg-Schulz, Christian, Meaning in Western Architecture, Rizzoli fig. 2.4.6 Symbolism; ritual and notional aspects. International Publications, New York, 1993
40
MOVEMENT
CHAPTER
3
CHAPTER 3 Architectural examples 3.1 sanskar kendra 3.2 dada harir ni vav 3.3 gandhi smarak museum Program Circulation Sequence of Movement
Architectural examples
41
CHAPTER
3
1
2
3 4
N
0
6
12m
Sequence of Movement path
fig. 3.1.1 Circulation path through the museum
1. Entrance 3. ‘Chabutara‘
at horizontal order path enforces the movement in form grid, starting from entry to the final destination, i.e. spaces of the museum. The axis movement passes through the spaces.
2. Ramp 4. Water body
N
0
Movement through The museum A Pause Point 42
6
12m
fig. 3.1.2 Pause point in the path Diagram predicting the pause points in the journey. Architectural examples
CHAPTER
3
3.1 sanskar kendra The Sanskar Kendra is a museum situated in Ahmedabad city, in the state Gujarat. It was built in 1954, designed by architect Le Corbusier. The general idea about the museum was to develop it as the cultural centre, but over the years it underwent changes where new elements were added.
3.1.1 circulation The museum has a grid pattern emphasizing path of movement, through the specific organization of columns and built form. The built form is elevated from the ground on columns. The schema is drawn as solid square box of bricks, where intermediate spaces are developed as open to sky courtyard. In the center of this, it forms a patch on ground level, followed by irregular shaped pond for water. Though it follows movement in the form of grid, it emphasizes character of the free movement by choice. The grid pattern of column always provides the option to organize space and display. Columns, continuously play with the visual frames. The circulation area changes according to functional requirement but it casually passes through space.
3.1.2 Sequence of movement Approach, from the street till the built form An approach from the street is the combination of vehicular and pedestrian movement. While entering through a gate an individual gets vision of statues. This street is followed by the long facade of the museum that helps an individual to observe the entire elevation of built form. The shift in the axis through a gate finally leads to the built form. This street is followed by series of sculptures of various stones and ‘chabutara‘ that guide the movement and showcase the function of this built form. A break in series gives a clue of an entrance of the museum. It is enhanced by the windows in solid brick wall facade of built form.
Architectural examples
43
CHAPTER
3
1
2
3
4 5
1 1. The entrance followed by series of sculptures; a break in that emphasize an entrance of the building.
2
2. At this point, the ramp is revealed which guides movement towards the first floor, this journey increases curiosity as one is absolutely unaware of upcoming spaces.
5
3, 4. ‘U’-turn through ramp reveals a water body with, open courtyard, one perceives a double storied roof structure, movement here makes one busy through spatial elements.
4 3
5. The indication of change in space emphasized through a door. fig. 3.1.3 plan showing the location of the nodes.
N
0
44
6
12m Architectural examples
CHAPTER
3
From the entrance of the built form till the first floor, Pauses in the pathway When an individual enters the space, the eyes travel further through a column structure organized in a grid manner. While at the front, revealing the ramp emphasizes a way to the first floor. An individual starts walking through it with curiosity as he/she will be unaware about the blink of entrance. When axis of ramp takes U-turn, it reveals an entire view of the courtyard from mezzanine level. An individual establishes their relation with the built form again through open courtyard, water body, double volume and play of light and shadow. This axis of movement keeps one engaged till he/she reach the firstfloor entrance. The entrance of the first floor is indicated through a door and on entering, it establishes a relation with outside through a window.
fig. 3.1.4 Change in quality of light and fig. 3.1.5 The courtyard in the center shadow due to courtyard and play of volume of spaces is associated with architecture and facade of traditional houses, where water body emphasizes a connection with the sky.
Architectural examples
45
CHAPTER
6
3
5
4
3
2
1 N
0
20
40m
Sequence of Movement path
fig. 3.2.1 Circulation path through the stepwell
1. Entrance Pavilion 2. Landing one 3. Landing two
A path of movement forms a linear approach starting from entry to the final destination, i.e. water body. The axis of movement passes through the spaces.
4. Landing three 5. Water body 6. Well
0
Destination point
20
40m
fig. 3.2.2 Section showing the vertical voids playing with light intensity in the journey; Relationship with the outside decreases on moving towards the destination i.e. water body
N
0
Movement through The Stepwell A Pause Point
46
20
40m
fig. 3.2.3 Pause point in the path Diagram predicting the pause points in the journey.
Architectural examples
CHAPTER
3
3.2 dada harir ni vav ‘Dada Harir ni Vav’ was built around 1499 AD by Dhai Harir, during Sultan Mehmud Begda’s reign. It is situated in Ahmedabad, Gujarat. The ‘vav’ is built with the sand stone in Solanki architectural style. The stepwell is dug five stories deep into the ground.
3.2.1 circulation The stepwell frames the linear axis of circulation. The axis of movement starts from the ground level and leads an individual to the downstairs at the destination point i.e. water body. This axis passes between the solid wall through the spaces. The series of landing through steps and columns are major elements occurring in the movement. The interconnection of columns and beams frame the grid view that creates a dramatic illusion. It also enhance the aspects of depth through darkness, which is the constant visual clue while journey.
3.2.2 Sequence of movement Entrance, beginning of the journey, the tomb The stepwell establishes a horizon line on the ground floor. Thus, the tomb placed in beginning of the journey becomes landmark from a distance. It forms an octagonal shape in the plan through a column that is connected by a dome above it. The intricately carved columns and dome emphasizes the entrance space. This space also creates an interval to adapt the built from before the journey begins.
Architectural examples
47
CHAPTER
3
1
2
3
4
4
3
1
2
N
0
fig. 3.2.4 nodes.
20
40m
Plan showing the location of the
1. View from the pavilion; beginning of the journey; series of platform is only in vision 2. At the first pause, eyes notice two stories of the step well 3. At the second pause, it frames three story; where depth gives sense of the rest movement 4. Downwards, one notices the final destination through a pond
48
Architectural examples
CHAPTER
3
The pause and interval in the journey, pathway The descending steps lead an individual to the first platform that is the first pause of the journey. Here, the visual aspect frames an entires first floor while darkness towards depth showcases the span till the destination.
1
There are three major pauses or intervals in landing depending on choice of an individual. These aspects occur in a single volume. The landings are spacious enough to allow people for gathering or interaction. There is a frequent change in visual frames on each step due to change in volume, light, enclosure and the same character of horizontal – vertical elements throughout the space. It reveals clue and span of movement sequentially.
2
This gradual unfolding of spaces constantly involves one in the process and creates curiosity for the further destination. This organization creates dramatic experience of the built form. It also emphasizes the gradual transition. The beginning landings are followed with reference to the sky. Further, it is followed by the punctured sunlight falling on the platforms. The journey brings one to the water body, which forms direct connection with the sky.
3 Change in quality of light and enclosure A sense of depth in the step well is achieved through the decreasing intensity of light. The harshness of light dilutes towards the water body due to an enclosure of the space. It emphasizes the relationship between light and built form. The light constantly transform from morning to evening as varying position of the sun.
Aspects of association and semiotics The various carvings and motifs on arches and columns reflect the Hindu and Islamic architecture. There are certain Arabic and Sanskrit scriptures engraved on the walls, as a strong evidence of the two kinds of architecture. Water is an important element for any religion from the history till date. The built form and journey made for the water acts as a symbolic element.
fig. 3.2.6 1. View from water body towards sky; void allows light that enhances the area. 2,3. A depth emphasized through light and fig. 3.2.5 The type of elements in stepwell establishes associations; shadow remains constant visual reference; carving, motifs on wall and column; Arabic and Sanskrit scriptures i.e. its guides the further movement. engraved on the wall Architectural examples
49
CHAPTER
3
6
8
7 Water court
5 4 N 0
2
3
1
8 16m
Site plan Sequence of Movement path 1. Entrance courtyard 2. Entrance space 3. Office 4. Letters
5. Photos & Paintings 6. Toilets 7. Books 8. Meetings
fig. 3.3.1 Circulation Path through the museum A path forms a random movement starting from entry to the final destination, i.e. space of the museum. The axis of movement passes by the spaces.
Water court
N 0
8 16m
Site plan Movement through The Museum A Pause Point
50
fig. 3.3.2 Pause point in the path Diagram predicting the pause points in the journey.
Architectural examples
CHAPTER
3
3.3 Gandhi Smarak museum The Gandhi Smarak Sangrahalaya is a museum situated in Ahmedabad city, Gujarat. It was built in 1958, designed by architect Charles Correa. The general idea about the museum was to exhibit the work along with the memory of Mahatma Gandhi. The fifty-one square modular units form the building in grid pattern.
3.3.1 circulation The museum creates random movement path. The organization of built form allows one to choose the destination and movement. The circulation pathway passes by various spaces such that it forms the internal street. The museum consists of closed, semi-open and open spaces. Here, the closed spaces act as the destination, semi-open spaces act as the pathway of movement and open spaces contains the natural element that enhances the environment.
3.3.2 Sequence of movement Approach from the street till the built form An approach from the street is emphasized through a gate in the long horizontal wall. When an individual enters through the gate, he/she experiences open courtyard which is at the higher platform. From here, an individual gets a perspective view of the museum. It forms a pause to adapt the built form and movement. The shift in axis leads one to lower level through steps and ramps in the street. When an individual steps in, visual frames an infinity which terminates at far distance from the building. This aspect gives a clue of a major interval in landscape i.e. river. Again, the further movement connects an individual to elevation of the museum. The street is followed by garden and shrubs. Puncture in the garden indicates an entrance of the built form through shift in axis.
Architectural examples
51
CHAPTER
3
1
1.1
2
3
4
5
4 3
1
N 0
52
2
16m
5
1. The entrance followed by series of shrubs; it frames blank wall with brightness 2. At this point, water body is revealed that creates first pause of the journey 3. Shift in axis toward left direction frames the plantation 4. The axis of movement passes by various space, through numerous shift in shorter duration 5. Path end towards the river side emphasizing the infinity through visual aspects fig. 3.3.3 Plan showing the location of the nodes. Architectural examples
CHAPTER
3
Pauses in the pathway, movement in the museum The entrance space of the built form is defined through the landscape and two ascending steps. While entering the built form the visual aspect frames a blank wall with light. This act ensures side growth of the built form as well as the movement axis. The path passes through courtyards on both sides, where one side consistently has plantations and other has natural stones. This creates serenity through natural aspects. Movement offers two choices for further journey. Here, it creates a major pause due to shift in axis and water court. The reflection of sunlight affects the movement and engages an individual with earth. The sequence of axis passes through various spaces and last node opens up to vegetation area. The whole path constantly connects the built form through visual aspects, but the physical movement generates a pause due to shift in axis. Aspects of association and semiotics The module of built form with four columns or wall and pitch roof is associated with a hut i.e. rural environment in a contemporary way. The movement passes by spaces in a random direction and overall organization of built form is the reflection of Change in quality of light and the cluster of houses in the village. enclosure
One module forms three different spaces such as a closed, semi-open and open by adding or removing the physical elements.
The elements like natural stones, vegetation, and water placed within open to sky courtyard and association of this creates an earthy environment. It is the reflection of This composition of change of enclosure allows the variety of lighting throughout Gandhi’s simplicity of life. the day, controls the temperature and visual permeability.
fig. 3.3.4 Module establishing an association with hut, type of organization of form creates a rural, village cluster of houses in a contemporary way.
Architectural examples
53
CHAPTER
3
Inferences
Each of discussed examples involve various aspects of the movement. Each turn or shift in axis affects an individual’s perception of the space through movement. Each built form has a different design of movement sequence according to program of the built-form. Various elements help to divert or differ the movement into an upcoming sequence or space. Different visual frames established at each node, at each change of axis, generates an experience through a frame and gives a clue for the further movement. The combinations of all different visual frames or views constantly change experiences at each stage and narrate the journey towards the destination. The discussed examples house the different functions. Thus, the pattern of movement is varying according to an organization of the built form and ideology behind the design. In ‘Dada harir ni Vav’, an individual has to travel down the space to reach the destination. Here, vertical movement constantly changes the perception of an individual’s at every next step. Throughout the journey the levels moving down constantly creates curiosity. While in ‘Sanskar Kendra’, the movement occurs in grid pattern through columns. The ramp act as connecting element for the floors and also provides gradual and smooth transition into built form without revealing an entrance. The pause and interval occurs which changes the perception through volumes and play of lights. While looking at Gandhi Smarak museum, it reveals the sense of whole built form. Hence, it doesn’t makes an individual curious but rather involves one by introducing elements. A random flow of movement offers choice to select the journey and destination. Different aspects of the movement sequence that can be noticed from the studied examples are; Sequence occur through the transition, prelude to the next space; Movement can be direct or indirect; can be over one or many axis, long or short duration; The movement sequence can flow smoothly or with the breaks in form of pauses or intervals; Destination could be one or multiple foci. Hence, each aspect that occurs in the movement sequence has to be understood and the entities associated with it should be studied to further understand its role in the phenomenon of spatial perception.
54
Architectural examples
CASE
STUDY 1
CHAPTER 4 CASE STUDIES 4.1 Hutheesing JAIN TEMPLE 4.2 VISHALLA 4.3 SANGATH
4.1.1 PROGRAM 4.1.2 SITE AND SURROUNDING 4.1.3 BUILT FORM 4.1.4 SEQUENCE OF MOVEMENT 4.1.5 KINESTHETICS Episode 1 Episode 2 Episode 3 HUTHEESING JAIN TEMPLE-AHMEDABAD
55
CASE
STUDY 1
fig. 4.1.1 Overall Form of Hutheesing Jain Temple
N 0
20m
fig. 4.1.2 Site Plan
56
HUTHEESING JAIN TEMPLE-AHMEDABAD
CASE
STUDY 1
4.1 Hutheesing JAIN TEMPLE Hutheesing Jain temple was built in 1848 AD, during a severe famine in Gujarat. The construction of the temple was originally planned by a rich Jain merchant, Sheth Hathisinh Kesarisinh, a wealthy trader from Ahmedabad. After he passed away, the temple’s construction was completed by his wife Shethani Harkunvar. This Indian Jain temple is dedicated to the Dharmanatha, the fifteenth ‘Tirthankar’ of Jains. The work of the Hutheesing Jain temple is attributed to Premchand Salat, an architect and master craftsman. The temple is worth praising for its carving and stonework according to its year of construction.
4.1.1 PROGRAM Hutheesing Jain temple premise comprises of the victory tower, main temple complex and the office areas. The victory tower, ‘Mahavir Stambha’ is a recent addition to this temple. The temple contains the entrance porch, circumambulatory path, and the main shrine. Apart from the temple, there are a number of amenities within the complex like ‘dharmashala’, ‘bhojanshala’, boarding house, lodging house and ‘upashraya’.
4.1.2 SITE AND SURROUNDING The temple complex is situated on the outside of the renowned Delhi Gate which falls under the old city of Ahmedabad, in the state Gujarat, India. The boundary of the land of the Sheth Hutheesing temple complex is uneven in shape. The site is a flat land. The west side of the land connected to the main road. The site is mostly surrounded by commercial buildings on the periphery of the main road and housing behind it. The site has a few existing trees.
HUTHEESING JAIN TEMPLE-AHMEDABAD
57
CASE
STUDY 1
N 0
10
20m
fig. 4.1.3 Pathway towards the Built Form from Main Road.
2
3
fig. 4.1.4 Temple Structure Divided into 3 Basic Parts: N 0
58
5
1 10m
1. Entrance Pavilion 2. Circumambulatory Path 3. Main Shrine HUTHEESING JAIN TEMPLE-AHMEDABAD
CASE
STUDY 1
4.1.3 BUILT FORM On entering the temple premises, the six-story tall ‘Mahavirstambha’ pillar is located on the right. The tower is 78ft high. This tower becomes the first part of the spatial sequence of the temple.
fig. 4.1.5 Visual Reference from the Main Road
The tower is placed near to the boundary wall next to the roadways in west. Due to low territory, the upper portion of tower becomes the first visual reference and focus from a distance which guides on to the temple premises. The temple is the second stage of the spatial sequence. The temple is rectangular in composition and lies on the right side from the main entrance gate. The courtyard acts as a link between the temple and the ‘mahavir stambha’. The temple faces the west and is oriented in the east-west direction. The plan is made up with the combination of square and longitudinal rectangular forms. Also, the semi-open as well as closed spaces which are connected by the structural elements like walls and columns. These are placed at a certain distance to create rhythm. The roof structure is made out of domes. Each domes is to commemorate Mount ‘Meru’, at the holy source of the ‘Ganga’, and home of ‘Shiva’.
fig. 4.1.6 Stambha’
A Six Storey Tall ‘Mahavir
fig. 4.1.7 The Main Structure of the Temple
HUTHEESING JAIN TEMPLE-AHMEDABAD
59
CASE
STUDY 1
4 7 6
5
3
2 Major Path of Movement Alternative Path of Movement
1 Victory tower
N 0 1 2
4
8m
Sequence of Movement path
fig. 4.1.8 Circulation Path through the temple
1. Victory Tower 2. Entrance Pavilion 3. Transitional Space 4. Circumambulatory Path
An approach to the temple complex is an oblique one. Path of movement starting from entry to the final destination, i.e. ‘Garbh-griha’ passes through various spaces.
60
5. ‘Rang-mandapa’ 6. ‘Guda-mandapa’ 7. ‘Garbh - Griha’
HUTHEESING JAIN TEMPLE-AHMEDABAD
CASE
STUDY 1
4.1.4 SEQUENCE OF MOVEMENT Hutheesing Jain temple being a religious place, the ritual of temple predetermines the circulatory movement through a sequence of spaces. Approach and Entry As an individual enters from the main gate, the first view captured at once is the ‘victory tower’ instead of the temple. For some moment, the tower is the main focus of the temple. When an individual moves forward from the tower, the movement of axis turns in the left direction to reveal a view of the overall temple. This visual frame prepares an individual’s mind and builds up the perception about the interior space. The visual clues lead an individual to the entrance area of the temple. The sequence of movement or circulation of the temple begins from the entrance pavilion. The ascending steps lead an individual to the pavilion. The movement through the circumambulatory path runs around the main shrine on the periphery of the main temple. This journey of path ends at the same point where the journey begins. On this junction, the straight axis leads an individual towards the main shrine i.e. ‘garbha-griha’. Relationship between the path and the spaces The movement axis passes through the various spaces, which are defined individually through columns, walls, ‘shikhara’, articulation, thresholds and flooring patterns that help to introduce the pauses and intervals through the path. The character of each space comprises the activities in such a way that it decreases the interaction with people and increases with the god. The movement path through the temple gradually takes an individual from the outer, corporeal world to the inner spiritual world.
HUTHEESING JAIN TEMPLE-AHMEDABAD
61
CASE
STUDY 1
8 7 5 4
6
3 1
Victory tower
2
fig. 4.1.9 plan showing the location of the nodes.
N 0
8m
1. Victory tower
2. External facade of the temple
3. entrance pavilion
4. Circumambulatory path
62
HUTHEESING JAIN TEMPLE-AHMEDABAD
CASE
STUDY 1
5. The temple as visual reference
6. A ceremonial entrance of the main temple
7. Entrance toward ‘garbhgriha‘ with door guardians
8. A space of three deities i.e. ‘garbhgriha‘ and ‘Gudamandapa’
Vignettes as framed at key nodal points; as one moves from node to node along the movement path in the temple. 1. The victory tower becomes the first visual point from a distance. It is the landmark of Hutheesing temple. 2. Articulation of walls and the projected pavilion defines the entrance way. 3. The elegant carving helps to prepare the mind for the journey and the holistic environment. 4. A colonnade cloister starts conditioning mind by the series Old Cella, ‘Shikhara’, enhanced flooring pattern and rhythmic column placement help to establish pauses. 5. The main shrine of the temple is surrounded by semi open porches. The transition of light generates curiosity about the inside. 6. Ascending plinth and height differences within the form transforms the light within the space. There is a gradual movement from light to darker spaces. 7. At the door, both side are flanked by the two-life sized door guardians, hinting on the next space in the sequence of movement. 8. A darker surrounding with a carved figure of God-Goddess, create a focus on the ‘Jyoti’ placed in front of the shrine. This initiates the visitor into a spiritual realm. HUTHEESING JAIN TEMPLE-AHMEDABAD
63
CASE
STUDY 1
Movement through The Temple A Pause Point Highest Duration of Pause
N Victory tower
0 1 2
4
8m
fig. 4.1.10 Pause point in the path Diagram predicting the pause points in the journey. The duration of the pause is decided by the Spatial Qualities while moving through Temple.
64
HUTHEESING JAIN TEMPLE-AHMEDABAD
CASE
STUDY 1
4.1.5 KINESTHETICS One scholar has remarked, “Each part goes on increasing in dignity as we approach the sanctuary. Whether looked at from its courts or from the outside, it possesses variety without confusion and an appropriateness of every part to the purpose for which it was intended.� [4.1] The hutheesing jain temple creates a spatial sequence in a way that an individual can achieve one to one dialogue with the divine through movement and gradual transformation of space. The spatial sequence in the temple is created in such a way that the journey through space becomes divine and engaging. The transition to a spiritual world is well indicated through the shifting movement axis and spatial organization. The sequence of movement path passes through the temple and is structured in the different episodes according to the series of spaces. Episode 1: A Journey from the entrance gate of the site to the entrance pavilion of the temple. Episode 2: A Journey from the entrance pavilion of the temple to the entrance of Central shrine structure. Episode 3: A Journey from the entrance of Central shrine structure to the final destination i.e. the innermost sanctum of the temple.
[ 4 . 1 ] h t t p : / / w w w. g u j a r a t t o u r i s m . c o m / destination/details/6/3 HUTHEESING JAIN TEMPLE-AHMEDABAD
65
CASE
STUDY 1
EPISODE 1 A Journey from the entrance gate of the site to the entrance pavilion of the temple The first episode of movement sequence starts from the victory tower placed near the entrance gate, passing by the open courtyard and leading to the entrance pavilion of the temple. The victory tower - the first pause point in the path From the entrance gate, the axis of movement is redirected to the right followed by the steps along the 1 plinth, leading an individual nearer to the tower. fig. 4.1.11 View from the main gate of The tower is placed on the platform that separates the area from the ground and increases it’s value. The ground floor of the tower consists of small shrines in all directions leading to a circular movement around the tower.
the site. The victory tower is the first pause point in the Journey. The temple is not visible from this Junction.
The facade of the tower changes dramatically till the top. This composition draws the visual reference towards the sky. The six-story tall pillar with the carvings and articulation and the intricate design calls for a greater 2 and deeper attention. It becomes the first pause in the fig. 4.1.12 Reoriented axis passes through the steps down to large open courtyard, path. this acts as An Interval phase in the Journey before entering the Temple.
Visual axis of movement The further path towards the temple is redirected to the left, through steps that bring down to large open space or a plaza which has a function of people gathering. This space provides a long interval in the journey. The first visual frame of the temple from the plaza captures a complete view of the temple. An individual slowly starts perceiving the space through the horizontal wall with series of ‘shikhara’ and an extended entrance pavillion in the center. This transitional open space in relation to the large temple complex serves as a very important phase in the process of movement and perception.
3 fig. 4.1.13 View of the main temple; The entrance pavilion of the temple protrudes out against the long facade. This makes the entrance more welcoming.
Entrance pavilion
4 fig. 4.1.15 A part layout of the temple showing axis of Movement; Episode 1
66
fig. 4.1.14 The Pavilion welcomes the worshiper through ascending steps and ‘otla‘. One has to pass through the gateway for the further journey. HUTHEESING JAIN TEMPLE-AHMEDABAD
CASE
STUDY 1
Entrance porch of the temple On moving towards the temple, the sequence begins with the axially aligned entrance pavilion that is intricately carved. It protrudes out in the center from the long peripheral wall and this becomes a visual clue for the welcoming space. The cone of vision concentrates on the two-storied entrance porch. The upper floor is a private area formed with ornate ‘jalis’ and ‘jharokhas’, registering into ones mind from a distance. These domestic elements give familiarity to built-form. The single volume entrance hall facing west provides access into the temple. The path passes through the ascending steps, the gateway, and the porch. The highly decorated porch perfectly enhances the space and involves one in notional associations.
fig. 4.1.16 Motif of ‘vyala‘
fig. 4.1.17 ‘jharukhas‘
Association and semiotics The elements like ‘jharokhas’, ‘chajjas’ and ‘jalis’ are adopted from the domestic pol architecture. Different motifs and figures used in the temple establish relationships and narrate different stories. The use of motifs like ‘vyala’ suggests the association with the far eastern regions. The porch is decorated with niches, sculpted figures, a profusely carved column with the figures of gods and goddesses. The richly carved door frame, a female dancer, as well as god-goddesses over the lintel, completely occupy the visual frame of the door from the steps.
fig. 4.1.18 Side view of two storeyed fig. 4.1.19 The front facade of the entrance entrance pavilion showing the carving, pavilion formed through the elements like ‘jharukhas’, minarets. details, elements and the over all form. HUTHEESING JAIN TEMPLE-AHMEDABAD
67
CASE
STUDY 1
Notice board act as a diversion in the path
Diverted axis towards the clock wise movement in circumambulatory path fig. 4.1.20 A part layout of the plan, showing the movement of the axis, diverting towards the circumambulatory path.
A temporary wooden barrier diverting the path towards cicumambulatory journey
fig. 4.1.21 The barrier on linear path ahead suggests the shift in the movement axis.
1
2
3 fig. 4.1.22 The passage hall approach through; 1. ‘otla‘ from the entrance pavilion 2. Intricate carving on column and niche 3. The door and threshold
68
HUTHEESING JAIN TEMPLE-AHMEDABAD
CASE
STUDY 1
EPISODE 2 A Journey from the entrance pavilion of the temple to the entrance of Central shrine structure The second episode of movement sequence starts from the entrance pavilion passes through the circumbulatory path and reaches to the entrance of main shrine of the temple. Visual and physical axis of movement An individual moves further towards the main shrine through the arch shaped step which acts as a threshold. The emphasized threshold and a transitional space informs an individual of the act of entering into a divine world. The visual frame through the door, lead the eyes towards the darker portion of the shrine in the same axis. It gives depth and a clue about the destination. The enclosed hall opens up towards the wider area that releases a panoramic view of the entire schema with a variety of visual information. This becomes the most precious view. This visual frame allows appreciation of form, proportion of massing and organization. An open to sky courtyard allows the main temple structure to be separated, not far enough to feel scattered. From here an individual gets the silhouette of the main shrine. The temple structure is enclosed from all the sides by the circumambulatory route that detaches an individual from the external environment. A temporary wooden barrier, directs the axis toward circumambulatory path From this junction, two alternative routes take off; one leading to the main shrine on the straight axis through the courtyard, second toward circumambulatory route where small shrines are placed. Here, the junction occupies a notice board. Although it is a temporary barrier it plays a big role in directing the movement towards the circumambulatory path. It hampers the linear path ahead which suggests the shift in the movement. fig. 4.1.23 A part of layout Plan highlighting the area of Passage Hall
HUTHEESING JAIN TEMPLE-AHMEDABAD
69
CASE
STUDY 1
fig. 4.1.24 A part layout of the plan showing the three pause point of circumambulatory path.
Pause point 1 Pause point 2 Main Shrine Pause point 3
fig. 4.1.25 View showing circumambulatory path and movement of axis; The main shrine remains as a constant visual reference all through circumambulation.
Increased the height of ‘shikhara’, contribute to emphasizing the pause
Change in floor pattern indicates the difference from distance fig. 4.1.26 The view showing the participation of aspects that emphasizing a pause. Change in column rhythm
70
HUTHEESING JAIN TEMPLE-AHMEDABAD
CASE
STUDY 1
Circumambulatory path, second phase of the journey At this point, the circumambulatory route takes over. The peripheral corridor is created by a colonnade for the subsidiary shrines. It runs around the main shrine but breaks on the east side where the entrance is situated. It comprises of fifty-two shrines, each punctuated by a niche for ‘Tirthankara’ idols, whose presence throughout the journey starts conditioning the mind. The colonnaded corridor settled on the wide platform with the series of niches on one side and the series of columns faces towards the main shrine. The chain of column and niches guides the movement. The steps along the path towards the courtyard allows to move around, view and think before entering the shrine. The series of ‘shikhara’ and columns screen a wellordered corridor with a number of sub-shrine. The pauses in the path, three major subsidiary shrines Amongst the fifty-two shrines, there are three major subsidiary shrines. These are placed on the cross reference of the main shrine with the alignment at the cardinal point except the east. Here, these are the only shrines under worship. It highlighted with larger niches, change in the column rhythm, flooring pattern and increased ‘shikhara’ height. A rhythm of column changes such that it do not block the visual connection with the mirrored subsidiary shrine through the doors of the close hall. fig. 4.1.27 View of series of ‘shikhara’
The pattern of flooring changes at this point to enhance the patch. It also indicates the difference from the rest of the shrines. This creates a pause points at certain intervals near the three shrines.
fig. 4.1.28 A plan highlighting the area of Circumambulatory Path and a visual connection of major subsidiary shrine. HUTHEESING JAIN TEMPLE-AHMEDABAD
71
CASE
STUDY 1
Change in flooring pattern at pause points Change in flooring patterns at transition points fig. 4.1.29 A part layout of the plan showing the change in flooring patterns of the circumambulatory path.
fig. 4.1.30 Break in the rhythm of flooring patterns at certain intervals; indicates the difference a distance.
fig. 4.1.31 The reorientation of the axis; transition points are fig. 4.1.32 Sharp shadows of the columns emphasized through a flooring pattern and series of columns. through the play of light rendering the floor area of the path.
72
HUTHEESING JAIN TEMPLE-AHMEDABAD
CASE
STUDY 1
Transition points, reoriented axis Moving further through the colonnade path, the axis is reoriented four times to complete the circumambulation. At this four-junction, the journey resumes after a break that acts as a transition point. These junctions are enhanced by the change in flooring pattern. The deity is placed at all transition points i.e. end of the passage. This visual frame remains as a constant through out the circumambulation and keeps one conscious all through the journey. Change in quality of light and scale Throughout the journey of the corridor, the columns and subsidiary shrines facing the main temple becomes enclosures of the space. There is a intense play of light within the building. The shadows of the columns and shikhara renders the floor inside the passage as well as the outside courtyard. An individual perceives different patterns on the floor throughout the day due to the play of light and shadows. In comparison to the corridor, the intensity of light in the courtyard is more affected by time. It acts as a buffer zone.
fig. 4.1.33 A Deity, a constant visual reference.
fig. 4.1.34 A plan showing the area of floor change in Circumambulatory Path
HUTHEESING JAIN TEMPLE-AHMEDABAD
73
CASE
STUDY 1
fig. 4.1.35 A part layout of the plan showing the movement and pause point of ‘Rang-mandapa’ space.
fig. 4.1.36 The movement toward the main temple passes through the courtyard; It acts as an ‘interval’ in the path of movement.
fig. 4.1.37 A Pause in ‘Rang-mandapa’ space is emphasized through; 1. Octagonal flooring pattern in the center, 2.The central space with the dome, 3. The space is open from three sides; enclosed with only columns.
fig. 4.1.38 Carving on column
74
fig. 4.1.39 Ceremonial Entry to the ‘Rang Mandapa’; Figures and motifs on both the sides. HUTHEESING JAIN TEMPLE-AHMEDABAD
CASE
STUDY 1
EPISODE 3 A Journey from the entrance of Central shrine structure to the final destination i.e. the innermost sanctum of the temple The third episode of movement sequence passes through the spaces of main temple structure that leads one to the innermost sanctum of the temple. The courtyard as an interval phase The same axis from the entrance pavilion leads one towards the shrine. The main temple structure consists of three juxtaposed spaces, that is raised on a high plinth. The journey of entering the main temple passes through the courtyard acts as an interval phase. This idea has been adopted from the domestic architecture of the city Ahmedabad where pols comprises of ‘chowks’ or courtyards. The path of movement now observes an interval due to it. Axis of movement The porches leading to ‘Rang-mandapa’, invited by ascending steps with different figures and motifs on both the side. The ornate columns, dome, ‘toranas’ give a ceremonial entry to the main shrine. Small boundary walls of the ‘Rang-mandapa’ space, run along the plinth that restricts the circulation.
fig. 4.1.40 Highly articulated space
Emphasis through flooring pattern and change in column rhythm The hall contains eight pillars forming an octagonal shape. The flooring pattern is arranged in the same fashion, growing from the center. It holds the space. This space has a semicircular shape dome placed above the octagonal patterned flooring. That increases the volume enhancing this central portion. These aspects create a major pause in the journey. Here from the doorway the low intensity of light draws the eyes towards the partial view of the principal deity. The profile of ‘shikhara’ and enclosure rises throughout the journey. Due to this, the intensity of light gradually starts decreasing and this motion helps to create a gradual sense of withdrawal from the corporeal world.
fig. 4.1.41 Plan highlighting the area of ‘Rang-mandapa’ Space
HUTHEESING JAIN TEMPLE-AHMEDABAD
75
CASE
STUDY 1
fig. 4.1.42 A part layout of the plan showing the movement and pause point of ‘Guda-mandapa’.
fig. 4.1.43 View showing the maximum heightened ‘shikhara’ that indicates the vertical movement and represent the connection with God. The space of shrine i.e. ‘Garbh - Griha’ acts as coolest, darkest due to its scale and proportion.
1
2 76
fig. 4.1.44 The movement toward the main shrine is indicated through; 1. A small door to the ‘Guda-mandapa’; with guards on both the sides of door and highly carved a lintel. 2. Emphasized through the change in flooring pattern and articulated threshold to make an individual aware of space change. 3. A darker ‘Guda-mandapa’ and change in flooring patterns and colors in negative impression.
3 HUTHEESING JAIN TEMPLE-AHMEDABAD
CASE
STUDY 1
Elements enhancing the perception of space through the movement path The vestibule area is situated between the ‘Gudamandapa’ and ‘Rang-mandapa’ space. This acts as big transition space before entering the praying space. The changing pattern of flooring along the journey also keeps an individual aware of the movement in the space. This bay houses two small dome shaped superstructures which are visible on the ground floor. This gives a clue of the basement area of the temple. The ‘Guda-mandapa’ welcome through an opening on the front faced i.e. a small door. The lateral sides of the door frame are flanked by the two-life sized male door guardians, that are also hints the next space of the sequence of movement through the threshold.
1
2 fig. 4.1.45 Articulation on walls, column representative the male and female figures.
The carvings on columns, representing male and female figures and various motifs build up associations. The highly decorated lintel with motif, sculpture, god goddesses, the carving increment along the movement also conditions the mind for the spiritual connection. The main shrine, final destination These elements involve the user through their journey towards the ‘garbhagriha’. After, passing through this transition, an individual is lead to the last destination which is ‘Guda-mandapa’. A place to pray to God. This space is more enclosed by flat walls with proportionally two small doorways. This pattern of lighter to semi darker to darker space which gradually transforms and ends at the deities. This space is lit up by ‘Jyoti’, a candle that creates spiritual spark in the mind and generates a sensorial environment. It allows having an intimate one to one dialogue. The maximum heightened ‘shikhara’ indicates the vertical movement which represents a connection with God. Thus, the movement guides perception and makes the physical journey into a personal intuitive experience.
fig. 4.1.46 A plan highlighting the area of ‘Guda-mandapa’ and inner most Sanctum ‘Garbh - Griha’ HUTHEESING JAIN TEMPLE-AHMEDABAD
77
CASE
STUDY 1
fig. 4.1.47 The transition from the corporeal world to inner most sanctum passes through the various spaces within the same complex, From the ascending plinths to the rising ’shikhara’.
1
3 2 1 2
fig. 4.1.48 The view showing the enclosure of space increases on moving towards the ‘garbhagrih’. 1. The enclosure of ‘Rang-mandapa’ space composed of columns. 2. The enclosure of ‘Guda-mandapa’ composed of walls with three small doors. 3. The enclosure of ‘Garbh - Griha’ composed of walls and just a window.
3 fig. 4.1.50 Changing quality of lightin the main shrine throughout the day 1. Main Temple from exterior; shadow gives a sense of depth. 2. Even intensity of light through the day in the ‘Rang-mandapa’ space. 3. Partially dark ‘Guda-mandapa’ receives scattered light through the fig. 4.1.49 The view showing the intensity light decreasing due to increasing door. degree of enclosure and the intimacy of scale.
78
HUTHEESING JAIN TEMPLE-AHMEDABAD
CASE
STUDY 1
Change in quality of light and increase in enclosure of space and scale The movement path from entrance pavilion to ‘garbhagriha’ has been enhanced by the ascending steps, increasing the height of the ‘shikhara’ and the decreasing the intensity of light. The differing degrees of the enclosure passes through the courtyard as an absolutely extrinsic phenomenon. The disparity caused by enclosure is assisted by the transformation in light intensity, from extremely sunlit and vivid courtyard to the less lit hall heading to the much dimmer interior hall and totally dark region of the shrine. While passing through all three bays an individual gets a sense of scale and volume with the vertical movement by dome, ‘shikhara’ and columns in the space. The internal volumes are larger and has more limpid spaces which fig. 4.1.51 Motifs of ‘vyala’; associated shrink in size and scale together to appear as a closed with the far eastern regions. cellule. The interior shrine is the coolest, darkest and the most vital space of the journey. It receives scattered light. This proposes privacy from the exterior world. The emotion of divine nature that an individual experiences here rationalizes the journey through within the temple. Association and semiotics The various visual frames in spaces of the temple during the movement through each direction guides the fig. 4.1.52 ‘jharokhas’, ‘chajjas’ and ‘jalis’ individual’s spatial perception. adopted from the domestic pol architecture.
The temple is totally formed of a continuous sequence of carved pillars, ceilings, passages and halls. The sculptures of ‘yakshas’, brackets, capitals, female musicians, ‘toranas’, and niches are seen in the temple that helps to build up associations.
‘Chowk’
The threshold between the two bays in the sequence i.e. the ‘umbro’ exhibits the entry of new space. This alerts one of entering into a different space. The idea of the courtyard has been adopted from the domestic architecture of the city Ahmedabad where pols comprise of ‘chowks’ or courtyards.
An individual also becomes conscious of the movement in the space by the altering floor patterns throughout the path. These features connect the user throughout fig. 4.1.53 Highlighted area of the plan their journey in the direction of the destination i.e. showing the courtyard, the domestic pol ‘garbhagriha’. architecture, Ahmedabad city.
HUTHEESING JAIN TEMPLE-AHMEDABAD
79
CASE
STUDY 1
Observations The spaces in the temple gradually open up as the user moves ahead along the path which ends at the main destination of the temple. The change in visual as well as the physical axis leads to the process of concealing and revealing. The use of elements like highly carved columns and motifs, varying floor patterns, and intensity of light through varied degrees of enclosures and scales. All this sums up to create different visual frames throughout the path. It therefore generates a sequence of divine experiences through movement. The articulation of space by the changing quality of light and scale through heightened ‘shikhara’ expand the spirituality and mainly influences the perception of the visitor. The vertical scale and enclosure of the bay increase on moving towards the ‘garbhagriha’ which emphasizes the connection with the ‘God’. The use of elements like ‘tirthankara’ idols, motifs and carvings in the temple involves one’s mind in the journey and constantly reminds their purpose of visiting the temple. The partially enclosed spaces increase the visual connection and create various interrelationships throughout the journey. Throughout the movement, a vital role is played by the pauses and intervals by acknowledging and emphasizing the presence of the specific element in the space. Though the journey of movement in the temple is straightforward at the same time, it is also engaging. The sequence of movement is designed keeping in mind the rituals of the temple. As an individual enters the main temple, the enclosure from all around detaches an individual from the outer world. In this enclosure, the movement is carried forward to forms the gradual and remarkable transition from the outer world to the divine. The scale of the temple in the beginning, allows many people to move together, but soon the number decreases as they move ahead on the path. At the end of the journey when an individual reaches the innermost sanctum, only the person and the divine are left together in the space. Here, the person is able to induce a relationship between self and the ‘God’.
80
HUTHEESING JAIN TEMPLE-AHMEDABAD
CASE
STUDY 2
CHAPTER 4 CASE STUDIES 4.1 Hutheesing JAIN TEMPLE
4.2 VISHALLA 4.3 SANGATH
4.2.1 PROGRAM 4.2.2 SITE AND SURROUNDING 4.2.3 BUILT FORM 4.2.4 SEQUENCE OF MOVEMENT 4.2.5 KINESTHETICS Episode 1 Episode 2 vishalla - AHMEDABAD
81
CASE
STUDY 2
fig. 4.2.1 View of vishalla
UP
N 0
10
20m
fig. 4.2.2 Site Plan
82
vishalla - AHMEDABAD
CASE
STUDY 2
4.2 vishalla ‘Vishalla’, a village theme restaurant was designed and is owned by Mr. Surendra C. Patel. He is a civil engineer and interior designer. He has been practicing his skills for creating perfect enviorns since 1965. ‘Vishalla’ campus was built on 27 March 1978. After three years of setting up ‘Vishalla’, Mr. Patel established a museum of large and old traditional utensils to render the restaurant with an ethnic touch. The museum built on 27 April 1981 within the vicinity of ‘Vishalla’ campus and came up with the name ‘Vechaar’ (Vishalla Environmental Centre for Heritage of Art, Architecture and Research) Utensils Museum.
4.2.1 PROGRAM As a designer, Mr. Surendra C. Patel always had a perception regarding different ways to bring the urban environs closer to nature. Thus, Vishalla attempts to be as a typical Indian village. The land of vishalla campus is occupied with varied sizes of semi-open huts. These are used for dinning, reception area, administration, office, kitchen, storage, utility area and utensil museum. Apart from this, an entertainment zone includes dance and music performance space, puppet show area, space for children to play with swings and slides, small stores of traditional stuff and temple on the entrance gate.
4.2.2 SITE AND SURROUNDING ‘Vishalla’ campus is located on flat land near vasna highway road, on the southwest periphery of Ahmedabad city in the state Gujarat, India. The site of ‘Vishalla’ is unevenly shaped and is accessed by the highway road. The entrance gate faces toward the west direction on the wider periphery of the site. The three sides of land are covered by the farms. The total site area is approx 8000 meter sq. including the museum also. The stretch of road on mirror side is mostly covered by the commercial building. The site has many existing trees, as well as vistas of the plantations.
vishalla - AHMEDABAD
83
CASE
STUDY 2
UP
N 0
fig. 4.2.3 Pathway to the Built Form, first arrival space from the Main Road entry.
10
20m
UP
2 1
2 1
1
1 2 2
1
1 2
2 fig. 4.2.4 ‘vishallas’ built form Divided into two Basic Parts; 1. Staff area 2. Dinning and entertainment pavilions
2 N 0
84
10
20m
vishalla - AHMEDABAD
CASE
STUDY 2
4.2.3 BUILT FORM The built form of ‘vishalla’ campus is scattered with small and distinct clusters. This composition adds a sense of a small world. The scattered composition of built form mostly covers all the allotted land. The in-between courtyards connect all scattered huts together which can be identified as one entity. The site has plantations in the courtyards and on the boundaries along with internal walkway path. The landscape is created by planting small plants, shrubs, ‘neem’ trees and many other smaller trees. The placement of these plants are decided according to their visual qualities, shadows, privacy and character of that place. Though, it seems they are placed in a random manner to showcase the random growth of a village. The whole built form responds to the land as if it is emerging from the ground and close to the surrounding. And, it occurs due to the use of one material and low profile that decreases the visual scale. The plan composition is a combination of square and rectangular shaped sheds which are made up of the elements like piers, bamboo piers, hatch roof, brick wall. Trees are planted in the internal walkway and courtyards to give shelter to open spaces. These plantations contribute in controlling the heat and temperature in a traditional way. The pitched roof also participates in controlling the temperature by adding layers of bamboo, hatch and roofing tiles.
vishalla - AHMEDABAD
85
CASE
STUDY 2
4
5
3 2
6
7
N
1
0
10
20m
Major Path of Movement Alternative Path of Movement
Sequence of Movement path 1. Temple 2. Cowshed 3. Arrival/welcome court (Destination one) 4. Dinning hut area 5. Ground for folk music 6. Children play ground 7. Dinning hut area
86
fig. 4.2.5 Circulation Path through the Vishalla The path has a free movement approach starting from entry to the destination according to ones choice. Here, the path passes through various spaces.
vishalla - AHMEDABAD
CASE
STUDY 2
4.2.4 SEQUENCE OF MOVEMENT In ‘Vishalla’, there are two kinds of movements happening. One leads an individual to a particular destination. The second is the free movement. The movement path offers choices to the users to take ‘pause’ or ‘interval’. This feature emphasizes the non-hierarchic character of the campus. There isn’t a single destination of the built form. All the spaces are treated with equal importance. Approach and Entry On entering the campus, a long linear approach leads an individual towards the built-form. A prolonged walk through the path takes one to a welcoming court which is the starting point of the campus. Movement further, towards different spaces The campus is divided into different centers which are formed through varied structures coming together. Further, the movement pattern forms a circular route that passes by various spaces offering different choices of destination. The entertainment zone is divided into different subareas. The sequencing of spaces is done such that small areas come together forming a whole. Each space is interconnected through the movement paths which further connects to the welcome courtyard. Relationship between the path and the spaces The movement pattern or the path is designed in such a way that it showcases various spaces throughout the journey. The smooth movement path merges with the interior spaces and landscape. The major feature of the movement pattern is that it gives freedom for an independent focus. So, each one coming here has an individual goal and moves accordingly. The sequence of the spaces allows movement by choice.
vishalla - AHMEDABAD
87
CASE
STUDY 2
UP
4 5
6
3 7 8
N
2 0
1
1. A temple
88
10
20m
fig. 4.2.6 A part plan showing the location of the nodes.
2. Long walk way/path way
vishalla - AHMEDABAD
CASE
STUDY 2
3. welcome court
4. path toward the entertainment zone
5. Choices of direction
6. Path passes through various elements and spaces
7. Path guided by the built form
8. Path forms a complete circle; confuses the user in the end
Vignettes as framed at key nodal points; as one moves from node to node along the movement path in Vishalla. 1. The temple becomes the first visual point at the entrance from the main road. 2. The series of plantation guides the way further and controls the visuality in the day time, in night series of lantern place on ground guides the movement. The long paths duration helps to prepare a mind for the destination. 3. The pathway leads to the first welcome court of built form. This area act as a junction where three pathways of different direction meet. 4. The path leading to the entertainment zone is guided by the shrubs. 5. A pause occurs here by two choices for further journey, but the music of folk dancers leads towards the ground. 6,7,8. Though a lot of choices and shift in axis, the path form a sort of circular route that passes by various elements associated to rural environment. vishalla - AHMEDABAD
89
CASE
STUDY 2
UP
N 0
Movement through The ‘Vishalla’ A Pause Point
10
20m
fig. 4.2.7 Pause point in the path Diagram predicting The pause Points in the Journey. The predicting Pause maintained in the Pace of Person due to its Spatial Qualities while moving through Pathway.
fig. 4.2.8 Diagram showing the distributed area in all episodes;
90
1. EPISODE 1 2. EPISODE 2 3. Path toward the Museum
vishalla - AHMEDABAD
CASE
STUDY 2
4.2.5 KINESTHETICS The stages of the movement sequence in ‘vishalla’ transforms from the straight and rigid pathway to a totally contrast, free and random circulation movement. A long, linear path with ‘pause’ and ‘intervals’ encourages an individual to preconceive the set-up of the built form and environment before getting into any space. It plays a major role in building up the perception of the spaces through the journey. The linear axis of the entry pathway emphasizes a strict focus toward the campus that leads one to the welcome courtyard. Further movement of free circulation generates a homely feeling. The major elements involved in the design of movement path through the campus are the entrance walkway, the narrow circulation path with traditional lights plantations. The sequence of movement path through the ‘vishalla’ campus and is structured in the different episode according to the choice of destinations. Episode 1: A Journey from the entrance gate to the welcome court Episode 2: A Journey from the welcome court towards different entertainment zones
vishalla - AHMEDABAD
91
CASE
STUDY 2
1
2
3
fig. 4.2.9 Part view of the built form and site, representing the journey and pause points of movement of episode 1
4
1. A gap in between half heighten curved walls and series of giant clay pots emphasizes the entrance gate from the main road. 2. In the beginning, the first pause is generated by the temple. This pause gives a peace to the mind, that helps from the worries of the outer world. 3. Bunch of trees and shrubs gives a sense of walking through the farms. In a way, it prepares one for the upcoming destination.
5 92
4, 5. A minor shift in axis draws the focus towards cowsheds, cow cart and ‘chabutra’, that creates a pause. And finally one arrives to welcome court under the pitched roof. vishalla - AHMEDABAD
CASE
STUDY 2
EPISODE 1 A Journey from the entrance gate to the welcome court The first episode of the movement sequence starts from the main gate passing by the long walkway path that leads to the welcome court. Approach to entry The entrance gate of ‘Vishalla’ emphasized by a series of plantations bounded by bamboo Railing. Besides the puncture of the gate, elegant giant colourful clay pots are placed in rows adding colours to the boundary and keeping environment live. The temple; a first pause While entering, an individual first gets the view of God i.e. the temple which is facing towards the gate. It is the first aspect of association with ‘deri‘, that comes in beginning of an actual village. It creates a pause point and reminds one of the traditions. It also helps to transit the mind from outer worries into peaceful environment. The temple is clad by mud of a single colour, texture that connects an individual to the rural ambiance. There is a shift of axis in the pathway from the temple, making one aware or indicating a starting point of straight long journey towards the campus. The path, further axis of movement From the beginning point, an individual gets a partial and blurred view of the surroundings. The path is followed by plantation like trees, shrubs and plantations on both the side which guides the way. It gives a sense as if one is walking through the open farms. Though, in a way it is establishing a sense of passage through plantation. Along with the plantation, the pathway also follows a single storied punctured wall. During the night time, the punctures in wall reflects some lights from the inside. Here, an individual can get a glimpse of the inside activities.
vishalla - AHMEDABAD
93
CASE
1
STUDY 2
2
fig. 4.2.10 Ethnic lanterns are the only source of light during night time, to creates a rural environment; 1. Set up of lamps in series highlights the floor area and guides the movement. 2. Lamps are also placed according to draws a an individual’s vision for the particular element.
1
3
2
4
fig. 4.2.11 The associated aspects that enhance the rural, village like environment through; 1. Mud temple with ‘mandapa’ made of clothes and creates association with ‘deri‘, which comes in beginning of the village. 2. Cowshed with real cow and smell. 3. Tradition method of collecting water in clay pot and welcome a guest with water according to culture, behaviour. 4. Organization of display, pickles in ceramic bottles again emphasized culture.
94
vishalla - AHMEDABAD
CASE
STUDY 2
Light as an element The path is open to the sky and darker in night. A series of lanterns are placed on the path that guides the further movement and even shows the limitation of the span. It highlights the floor area and vegetation boundary. The campus is lit using kerosene lamps for creating a village like ambiance. The view of built form still generates curiosity. the welcome court, destination of episode1 The same ambiance continues through the path till the individual perceives a cowshed with cows and cow cart. It creates an association with farming and adds the pure magic of village life in a realistic sense. An individual has arrived at welcome space, which is under a double volume pitch roof. It gives transition from open to semi open space creating a little bit sense of enclosure. The courtyard gives a sense of ‘fariya’, a space for gathering associated to village life. The arrival porch houses the shops, reception area, and two huts. The built form is cladded with mud plaster. The element like ‘otla’ is introduced here to create a homely environment. Welcome courtyard here gives a sense of the type of built composition. The built form has no physical obstructions in the form of doors or walls. The open courtyard is the first ‘interval’ in the journey. It allows an individual to wait, think and understand the space and decide their movement further. Aspect of association The journey of this episode creates an association in two manners. The temple in beginning is the first aspect of association with ‘deri‘, that comes in beginning of an actual village. A staff in traditional clothes, a shop selling pickles displayed in a traditional jar; all these aspects connects one to the ‘Guajarati’ tradition, culture and behaviour. The physical aspects like mud plinths, shelter like ‘mandapa’ made with a cloth tied on bamboo, a series of kerosene lamps, a rough composition of vegetation, an ‘otla’ and last a cowshed with cows and cow cart associated with the village like environment throughout the journey.
vishalla - AHMEDABAD
95
CASE
STUDY 2
4
3
2 1 1
2
4 3 6
5
fig. 4.2.12 Part views of ‘Vishalla’ showing pause points (it may vary for every individual) and the movement axis of episode 2; The mentioned numbers are showing the location of view point.
4
Starting from the welcome courtyard the path passes by various spaces. It frequently gives options for further journey, leads an individual to their chosen destination. The movement has a circular form, where at each step the path offers a pause or interval according to one’s choice, it is kind of free movement. 1. A patch of trees, plantation stand as restriction of movement, that also indicates a diversion of movement and controls visual aspects.
5
2, 3. The path makes a short cut through the children area, that creates a confusion. 4, 5, 6. The path passes by the series of dining zone, as destination of this campus.
6 96
vishalla - AHMEDABAD
CASE
STUDY 2
EPISODE 2 A Journey from the welcome court towards different entertainment zones The second episode of movement sequence passes through the spaces of ‘vishalla’ that leads to the various destinations per ones choice. Nature of movement path The path of movement offers options at every moment to choose for further journey. It allows the visitor to move around to experience and explore the space in his own way. This makes the environment of ‘Vishalla’ familiar and informal. Even though, the path and the interior spaces are discerned as a single part rather than an independent entities, the path never creates ambiguity or confusion in the space. Though the movement forms a clockwise circular path the movement within this zone contains free choices of paths. The path passes through a lot of sub spaces which allows to take pauses or intervals according to ones choice. Axis of movement From the welcome court, as an individual turns towards the narrow path, it leads to the entertainment and dining zone. Here, a few steps forward junction reveals an adorable view of campus. It can be perceived as an opening of a completely new world. A different pattern of activities and semi open spaces creates a sense of cluster. There are no uses of artificial partitions in the space that distracts an individual’s vision. Rather, the semi open huts allows the visibility to pass though to gives the feeling of vastness and spaciousness. Intervals and pauses in movement When an individual starts the journey, the path gives two choices to move further. But here, the sound of folk music attracts an individual towards a particular direction. Now the plantations smoothly reveals a view of the ground. The big open space, with decorative lights, ‘toranas’, ‘charpoys’ (a traditional sitting) and performance creates an interval to enjoy the environment.
vishalla - AHMEDABAD
97
CASE
STUDY 2
fig. 4.2.13 Quality of light during night time, varies at each space according to their visual control; From day light to night the enviornment drastically changes through ethnic lanterns;
fig. 4.2.14 Various aspects of association that emphasize the rural environment .
This is a repetitive element that creates an overall ambiance of ‘vishalla’.
98
vishalla - AHMEDABAD
CASE
STUDY 2
There are many other activities which are carried out like Gujarat’s folk dance ‘garba’, ethnic puppet shows, and magic shows. All these activities allow the visitors to take intervals according to their choice. From the entry till exit, the path guided by paved flooring and random light and plantations creates an informal ambiance. The path passes through the spaces that are arranged on both the sides. Each and every node makes an individual busy, alert due to the elements and function of the spaces. This route does not reveal each function. Plantation and dim lights plays a big role in the campus to restrict the visibility. Dinning, a destination of campus The next movement from the entertainment zone leads towards the dining area. It executed in semi open space. Thus, it is maintaining the visual connection with the surrounding and creating a sense of open land seating. The seating arrangements are done keeping the typical Indian villages in mind. Therefore, the one sits on mud floor and a low wooden plank serves as a table. The food is served in a biodegradable leaf plates. The interior design of the space justifies Indian culture. Aspect of association The organization of the spaces in ‘Vishalla’ relates to the village environment. Mud temple with ‘mandapa’ made of clothes and creates association with ‘deri‘, which comes in beginning of the village. The restaurant is scattered in small spaces separated by landscape. The atmosphere resounds with the varied performances and activities that allows the visitors to associate with their childhood and culture. The sweet smell of ‘lobaan’ i.e. smoked charcoal fills the pleasant environment. Everything around resembles a typical tradition and culture of a village.
vishalla - AHMEDABAD
99
CASE
STUDY 2
Observation In ‘vishalla’, the character of the path of movement is not directed towards one destination. But movement path is scattered for many destinations. The path frequently offers choices for movement as per an individual’s goal. The design of path gives equal importance to all the spaces within the built form. The episode gives a gradual transition to the next episode by a declaration of the blinks of next sequence or space. The frequently introduced pauses and interval through the space and diversion of the path gives an irregularity of movement throughout the campus. This also creates an elongated path. This frames the gradual transition from the outside chaotic environment to the calm and peaceful and a cheerful environment. Here, the whole movement path passes by the spaces. The rough plantation and scattered built form majorly governs the movement within the campus. The whole journey continuously plays with the concealment and revelation of each space by redirecting the path and restricting movement with a rough plantation. This shifting axis and constantly changing visual frames through the path keeps one aware of their movement. The combination of the paved floor against the surrounding mud floor contributes to guiding the movement. Light is the major element that enhances the movement and creates an ambiance of village environment in the campus of ‘Vishalla’. Play of light happens through the use of lanterns placed at certain intervals as per highlighting and restricting the spaces or elements. Partial light passes through a heavy patch of the plantation which gives a hint of the upcoming spaces and activity. Moving through the path with various activities happening around one gets near to the nature and rural environment of the campus that helps building up the perception of the space. The path allows gradual movement of the visitor and it justifies the character of the campus. It also builds a strong association with village environment and even one’s past memories. Just moving through the path, one can get to understand the whole character and spatiality of the campus, without even stopping.
100
vishalla - AHMEDABAD
CASE
STUDY 3
CHAPTER 4 CASE STUDIES 4.1 Hutheesing JAIN TEMPLE 4.2 VISHALLA
4.3 SANGATH 4.3.1 PROGRAM 4.3.2 SITE AND SURROUNDING 4.3.3 BUILT FORM 4.3.4 SEQUENCE OF MOVEMENT 4.3.5 KINESTHETICS Episode 1 Episode 2 sangath - AHMEDABAD
101
CASE
STUDY 3
fig. 4.3.1 Overall Form of Sangath
0
5
10m
fig. 4.3.2 Ground floor Plan
102
sangath - AHMEDABAD
CASE
STUDY 3
4.3 sangath ‘Sangath’ was designed by the architect Balkrishna Doshi. He is one of the innovators who shaped Modern Architecture in India. The ‘sangath’ is a shadow of Indian architecture and through use of ethnic and local components in co-ordinance with the site, people, and their past. Seemingly, a major advance in the enactment of his self-goal was achieved with the construction of his own architectural office “Sangath”, designed in 1978 and completed in 1980. It has become one of the outstanding achievements of international contemporary architecture.
4.3.1 PROGRAM ‘Sangath’ was built to fulfill the requirements of a place for the architect’s own studio. Which came up with the name, the Vastu Shilpa Foundation for studies and research in environmental design. Rather than focusing on just architectural practice, it is also known for its work in research and education. He extended its functions to accommodate a space which encourages activities related to fine and technological arts. This was done through an exhibition of work and craft workshops to further interdisciplinary contact. Thus, besides studio space for office, this project required a space for exhibition, lectures, research and facilities for the residences of guest who came to work and discuss their work.
4.3.2 SITE AND SURROUNDING ‘Sangath’ is located on flat land with a very slight slope near the drive-in road which is the periphery of western city of Ahmedabad, in the state of Gujarat, India. The land selected for ‘Sangath’ is quadrangle shape which is accessed by the south road, that the site overlooks. The total site area is 2346 meter sq. where the total built up area is about 585 meter sq. One of the longer and wider sides of site are connected to the roads. The gate is provided on the wider side of the land connecting to the main road. Earlier, the area was a newly developing suburb. The site is surrounded mostly by commercial building on the stretch of the main road. The site has a few existing trees, as well as the vistas of plantations done by the architect. sangath - AHMEDABAD
103
CASE
STUDY 3
fig. 4.3.6 Low profile of the built form due to containment
0
5
10m
fig. 4.3.3 Pathway to the Built Form from the Main Road
fig. 4.3.7 Vegetation as an element
0
5
10m
fig. 4.3.4 The plan showing the area of forecourt
fig. 4.3.5 Sketch of form showing the relation to topography
104
fig. 4.3.8 The vault stand apart from the plantation sangath - AHMEDABAD
CASE
STUDY 3
4.3.3 BUILT FORM The major part of the built form is located in the eastern corner, where the building is oriented along the northsouth axis of the site. According to placement of the building, it creates a forecourt in the front side which is defined by the rough paradisaical garden. The placement of the plants are decided according to the visual qualities and character of that place. The plan of the building is made up of a combination of longitudinal rectangular shaped spaces. These are connected through structural elements like piers and walls placed at a certain distance to create a rhythmic interior space. The scale of the built form has a low profile and the attitude towards the land is as if it is merging with the surroundings. The vault’s profile connects the built form to the ground. Since it has a circular drooping profile, it guides the eye of the viewer to the ground. The building dramatizes the natural elements of land, sun, sky and rain via the artificially created undulated ground, raising vaults at some places, different levels of platforms, series of steps, terraces, water channel and artificially created water body with lotus flowers, various types of trees and ground treatment. Eventually, the building composition reflects as if it is made up of the earth itself. Steady extending of space through shifting axis, inbuilt thresholds and the feel of layering are vital attributes of space organization. The ambiguous relationship between the built form and the external spaces, reflect Doshi’s notion of a transitional place for multiple uses.
sangath - AHMEDABAD
105
CASE
STUDY 3
5 6 7 8 4 3
2
1
0
5
10m
Major Path of Movement Alternative Path of Movement
Sequence of Movement path
fig. 4.3.9 Circulation Path through the ‘Sangath’
1. Courtyard 2. A mango tree niche 3. Pond 4. Amphitheater
A path of movement forms a complete loop starting from entry to the final destination, i.e. design studio with an elongated approach.
106
5. Entrance court 6. Lounge 7. Reception 8. Studio
sangath - AHMEDABAD
CASE
STUDY 3
4.3.4 SEQUENCE OF MOVEMENT The movement sequence planned in ‘sangath’ is full of surprises and therefore it is an unpredictable journey. It is a slow transformation from the exterior world into safe working environment. The path of movement creates a sequence of spatial experiences in constant transition, conditioning one’s mind. Approach and Entry The main entrance gate opens up in a small courtyard which is the starting point of the movement path. The wall with a gap gives a biased view of the inside space which is the first visual source. Here user stops and thinks how to step further and from where to enter the building. The path further bends to the narrow path-way which takes the visitor inside the campus. The path is diverted three times and goes through the plantations, a small water body, and an amphitheater. A moderately enlarged approach accompanies the visitor throughout the campus heading to entry of the built form. The entrance of the built form is through a double heighted vault, almost invisible. Thus, it is not highlighted and gets merged with the built form. The further axis of movement in the building gives an option to choose. One route takes to the reception, architect’s office, design studio and the service areas. The second route draws to the conference room and the staircase leads to the first floor. Here, the end of the axis towards design studio has an opening which provides a biased view of the exterior wall. Relationship between the path and the spaces The movement of axis passes through the various spaces, which are defined through plantations and a small water body. The natural element and the forecourt add to the informal character to the approach. The various variety of trees, their forms, shrubs, their heights and grass that covers ground, are the elements used to define the character of the path by their form, texture and colour. An element and changing visual frame of the built form helps to introduce a pauses through the path. The path and inside spaces are connected by windows that forms an inside-out connection. sangath - AHMEDABAD
107
CASE
STUDY 3
8
9
7
1. Courtyard
10
6 5 4
3
2 1
2. A narrow pathway 0
5
10m
fig. 4.3.10 A plan showing the location of the nodes.
3. Followed by low wall
5. Puzzling entry
4. Lotus pond
108
sangath - AHMEDABAD
CASE
STUDY 3
6. Path towards entrance
7. The arrival space of the built form
8. Movement towards up direction
10. Studio, work space
9. A narrow path towards studio
Vignettes as framed at key nodal points; as one moves from node to node along the movement path in the ‘Sangath’. 1. The paving pattern lead one’s focus towards statue behind punctured baffle wall. A view of sculpture through small cut out in the wall. 2. The waist-high partition wall mounted with grass, plantation and earthen pot on either sides, indicates the further pathway. 3. The waist-high partition wall consciously guiding the path. A metal sculpture placed on undulating landscape attract the vision. 4. The lotus pond is revealed with the panoramic view of the built form. A reflection of the built form connects visually. 5. The amphitheater steps creates a puzzle for further journey. 6, 7. The arrival space of the built form exposing the narrow entry under the triple volume vault provides a transition. 8,9. From the lounge, path provide options to choose further movement i.e. a first floor through the stairway or a studio space through the narrow path. 10. The linear studio space end at the small courtyard. A sculpture placed in is seen from the entrance also. sangath - AHMEDABAD
109
CASE
STUDY 3
0
Movement through The ‘Sangath’ A Pause Point
110
5
10m
fig. 4.3.11 Pause point in the path Diagram predicting The pause Points in the Journey. The predicting Pause maintained in the Pace of Person due to its Spatial Qualities while moving through Pathway.
sangath - AHMEDABAD
CASE
STUDY 3
4.3.5 KINESTHETICS “ The approach is never axial but diagonal to make one discover and absorb the building before entering it… the interior circulation is never direct: one is shifted perpendicular to the entrance… to experience the building’s variety of vistas, spaces, etc. ” [4.3] The architect was fascinated by Parthenon approach. However, the site was not large enough to accommodate, thus he created an elegant sequence of experiences along the path instead of direct or straight approach. The first element of surprise in the movement structure is an elongated approach. The unpredictable diversions and elements throughout the path draw one’s attention and forces to think about the space. ‘Sangath’ itself creates a powerful interaction between an individual and the space through spatial series. The movement and the resulting perception of the space are adversely affected by components like changing floor level and the scale, the openings, steps, narrow passage as well as the landscape outside. The sequence of movement path passing through the ‘sangath’ is structured in the different episodes according to the series of spaces. Episode 1: A journey from the entrance gate to the arrival court of built form. Episode 2: A journey from the arrival court leading to different points of destination.
[4.3] Curtis, William J.R., Balkrishna Doshi, An architecture for India, Ahmedabad, Mapin Pub. Pvt. Ltd., 1988 sangath - AHMEDABAD
111
CASE
STUDY 3
Entrance of the built form
Shift in axis of movement
Courtyard Entrance Gate Narrow path towards the entry
fig. 4.3.12 View of built form and site is representing the episode 1 of the journey. The mentioned area in the view are participating in the approach walkway of the built-form. The axis of movement keeps on shifting along the path to reach the main entry of the building.
fig. 4.3.13 Series of ‘neem’ trees form a screen at entrance gate of the site.
fig. 4.3.14 Photo shows the partial view of the built form from the gate. fig. 4.3.15 A window cut out and the idol of a guard.
The exterior wall and profile of vault act as the first visual reference on entering the premises; The idol of a guard welcomes one through the frame of window.
fig. 4.3.16 View from the main entrance gate The Entry to the built form is not seen from the courtyard creating a curiosity within the visitor.
112
sangath - AHMEDABAD
CASE
STUDY 3
EPISODE 1 A journey from the entrance gate to the arrival court of built form The first episode of movement sequence starts from the main gate passing through the narrow walkway path and finally leading to the arrival court. Entrance courtyard, the first pause A puncture in the six feet high boundary wall with series of ‘neem’ trees emphasizes the main entry to the site. It creates a contrasting frame compared to the neighboring areas. The first stage of the journey as an individual enters the campus is the courtyard. After entering, the exterior wall of the built-form with the profile of the vaults in the background is the first scene. Here, one is able to get the view of the built form but the entry to it is quite puzzling raising a sense of ambiguity. The exterior wall with slits is responsible for drawing notice towards the interior courtyard. The act of welcoming in the campus is done by the idol of a guard standing in the center of the frame of a small window. The green patch is nearer to the observer thus the builtform goes in background, giving an incomplete view of the vault. At this point, an individual wonders about how to move ahead and from where to enter the building. At the entrance, a slow and peaceful music can be heard which increases the curiosity of the space. Re-orientation of axis, towards narrow pathway The courtyard has floor patterns of doors, ‘jaalis’ that signifies the traditional architecture. This space gives two clues to divert the axis. First, the walls run three sides of courtyard making one turn towards left in search of the further movement path. Second, the indicating human figure in the floor pattern indicates to take left into a shallow valley. The movement path of ‘sangath’ does not inform an individual about the character of upcoming spaces in the journey. fig. 4.3.17 Plan highlighting the area of an entrance courtyard
sangath - AHMEDABAD
113
CASE
STUDY 3
1 3
2 fig. 4.3.18 Part view of ‘sangath’ showing the first half movement phase of episode 1 and three pause points of path. Numbers show the position of the view of the built form is taken from.
1 1. A two-dimensional view of built form
fig. 4.3.19 Reorientation of the axis in the courtyard gives the first pause point in the journey; A narrow pathway towards the built form passes between the waist-high partition wall mounted with grass.
2 2. A view reveal the depth and mass of built form
fig. 4.3.20 The path passes through a niche with the pattern of a mango tree gives a second pause to the journey; This pause orients the vision towards the built form.
3 3. A panoramic view of the whole site fig. 4.3.22 The images 1,2 and3 shows the fig. 4.3.21 Grass, plantations and wall guides views of built form from the approach path direction to move further towards the next way pause; i.e. water-body.
114
sangath - AHMEDABAD
CASE
STUDY 3
A narrow pathway, a mango tree At the courtyard, an opening between the waist-high partition wall mounted with grass and plantation gives a clue to move ahead. The elements like the earthen pots and the plantations on both sides indicate the entry to the path. The re-oriented axis leads the eye towards undulating landscape and the metal sculpture, placed facing the path in the corner of the site. A few steps forward, the waist hight straight partition wall converts into the concave shaped plinth profile. This concave niche contains a flooring pattern created by pebble work. It indicates a mango tree as a notional reminder of the one that once existed on the site. a view of built form through the plantation After, the axis gets transferred. One starts getting an incomplete view of the built-form by going ahead on the path. From a two-dimensional profile, the vaults gradually acquire depth and mass. The overall built form is revealed. Due to the raised plinth of the pathways, this silhouette remains for visual reference only. The entry is still a mystery. The path gradually leads into the forecourt of the built form that is actually a lush green garden. Giant clay water jars and some traditional elements kept on the grass around the path create a village-like environment. Water-body, a visual reference Now, the axis is redirected parallel to a boundary wall. Here, a small water body is revealed and becomes the next point of reference along the path. When the eye falls into the water body, the view of built form is seen through reflection. This junction gives a panoramic view of the building lying behind the undulating plinth and the landscape of the overall schema. This pause gives the most precious view from the path. Diversion of the path again takes place from here. The act of light and shadow keeps on going through the heavy landscaping.
fig. 4.3.23 Plan highlighting the half area of movement with water body of episode 1 with context to overall form sangath - AHMEDABAD
115
CASE
STUDY 3
fig. 4.3.24 Part view of ‘sangath’ showing the rest of the movement phase of episode 1 and a pause point in the path.
1 fig. 4.3.25 Arriving at the water body, act as a surprise element in the path, creating a pause. fig. 4.3.26 The ‘Steps’ i.e. amphitheater in the background act as an element of disguise; Often one loses track creating a confusion regarding the further movement.
2
3
116
4
fig. 4.3.27 Path defined towards the entry; Angled walls, paved path, trees, elements like pot etc. Helps to define path & prepare one to focus towards the entrance into a new space. fig. 4.3.28 Images 1,2,3 and 4 shows the direction of path and participation of elements which leads one towards the entry of the built form.
sangath - AHMEDABAD
CASE
STUDY 3
Shift in axis of movement, toward amphitheater While approaching towards the building the axis of movement keeps on moving adding more layers. The interaction between background which is the built-form and foreground i.e. the plantations, water body and the amphitheater continues throughout the journey. From the entrance gate, throughout the path till the entry of the building a tenuous and peaceful music can be heard which conditions an individual’s mind. The continuously playing music and differing ground level keep one conscious of going ahead in the place. Puzzle for entrance Different activities are encouraged by the amphitheater and the plaza along the pathway for the working people. The entry remains a maze even after reaching here and sometimes the user gets lost. The amphitheater steps are created through the grassy mounds. The steps and terrace levels define the plinth or base of the built form as a continuous fabric. The path appears as a part of this fabric. Thus, it merges with the surrounding smoothly. Arrival court, the last pause within this episode An entry court is followed by the angled walls which is highlighted by the paved path. Slowly, the cone of vision diminishes and starts focusing towards the entry. As an individual moves down a couple of steps, the volume height increases by three times with a vaulted roof. This partially covered court acts as an evolutionary space, after a long journey from outdoors. The path has floral paving that defines the softness of it. The approach leads diagonally to the building entrance which is situated at the extreme end of the built form.
fig. 4.3.29 Plan highlighting the half, last area of movement with amphitheater steps of episode 1 with context to overall form sangath - AHMEDABAD
117
CASE
STUDY 3
fig. 4.3.30 A part layout of the plan, showing the movement of axis inside the built form. fig. 4.3.31 The movement axis forms a 360 degree loop and reaches the last point of arrival that becomes the first point of reference on entry.
1
2
3
fig. 4.3.32 1, View shows the entry from the inside, The space welcomes with a low ceiling, Large opening that allows natural light in, which acts as transition to balance the suddenly reduced ceiling height from the outdoor volume. fig. 4.3.33 2, The next axis of movement goes through the narrow linear passage passing through the reception leading to the design studio space. Different materials, colors & textures come together increasing visual as well as mental involvement with space. fig. 4.3.34 3, Physical movement path ends at studio space but visually it connects to the entrance wall and the idol which was the first point of reference while entering the campus.
fig. 4.3.35 Internal volume characterized by land.
fig. 4.3.36 Spaces described by the direction of
the ground plane and partitions also shows the limitation of the spaces.
fig. 4.3.37 Notional association of interior volume to a cave in form and relation with the ground.
118
sangath - AHMEDABAD
CASE
STUDY 3
EPISODE 2 A journey from the arrival court leading to different points of destination The second episode of movement sequence starts with the arrival court of the built form and leads an individual towards different destinations. Entering the built form As user enters the premises it disconnects them with the exterior world and makes feel more secure. The ongoing and finished models and projects by the firm are exhibited in the waiting area which makes the space more enchanting. It acts as a break in the journey. From here moving to the first floor through the stairs or in the direction of the conference room and design studio is to be decided individually. Nature of movement path In the studio under the vault, a strong inside-outside bond is set. It is flooded with natural light passing through glass window placed in the vault. At the end of the studio, there is a small courtyard where a small clay statue frames a window. The last point of the journey is the first visual reference in the campus. The path of the whole journey is in circular form starting from the entry, moving through all the spaces and ending at the design studio. Despite the fact, the starting and ending points of both the paths do not meet physically. The ground has been designed with varying levels to define transition point and boundaries or limits of spaces. The varying height of volume also defines the limit of the fig. 4.3.38 Design studio vault with the spaces. The structural elements like walls and column are north-light; A narrow linear path opens up placed at varying interval that creates a rhythm inside in vaulted space flooded with natural light. the built form. There are hardly any enclosures used to separate the spaces. The interior space opens up at particular places to provide a visual connection with the forecourt. Aspect of association The visitor’s mind is constantly busy and tangled in the journey through the altering of floor and ceiling. A sense of slow transformation is flourished as one goes further and a series of experiences are evolved. A feel of going into a cave is experienced by visitor on entering the space. It characterized by the sunken floor level and low ceiling height. The ceiling height and floor levels keep on changing. The light intensity varies. All these constituents fig. 4.3.39 Plan highlighting the area of of the space interconnect visitor’s mind to that of ethnic movement within the built form temple architecture of India. sangath - AHMEDABAD
119
CASE
STUDY 3
Observation The movement in Sangath is through the non axial, diagonal path. The shifting axis unfolds the spaces gradually and surprises the user at each and every second. All throughout the journey one orients and reorients oneself making pauses and intervals. These pauses and intervals force the visitor or the user to think, understand and involve with space. Thus, gradually the interaction of the user with the space in the journey increases. The journey from the entrance gate to the building acts as a vital phase in the whole movement series throughout Sangath. It is the period of slow, gradual transition that conditions one’s mind. The partial view of the built form, landscaping, water body and the detail of music gives a strong experience and makes the movement towards the built form delightful. The path is constantly generating a feeling of surprise, unexpectedness and ambiguity. The movement path makes a complete loop from the entry to the last portion in the series. While entering the premises of Sangath, the first space that is seen is last stop of movement within the built form. The perception of the space is highly affected by different visual frames forming sequences of spatial experiences. Inside the built-form, the articulation of volumes created by changing floor levels and the ceiling generates the feeling of layering, enclosure, and openness through the sky light. The varying quality of lights through the changing scale of space creates an association with the traditional Indian architecture. When one reaches to the first space within the built form, display of projects on the whole path continuously engages an individual with space. The movement structure in Sangath sequentially unfolds the unusual experiences and surprises. Each visitor makes up their own narration and perception of the space.
120
sangath - AHMEDABAD
CONCLUSION
CONCLUSION - Comparative discussion - To conclude...
121
CONCLUSION
Comparative discussion All the case studies which are discussed in the previous chapters, contain a unique program and built form. Hutheesing Jain temple is an example of traditional architecture, ‘vishalla’ signifies recreational architecture and ‘sangath’ is an example of modern architecture. The design or organization of sequence of movement clearly reflects the functions and serve the purpose of each of them. Hutheesing Jain temple is a religious space. Thus, each and every person has the same purpose to visit a temple. It contains a single and clear goal of destination for every visitor. Thus, there is a single path of movement leading towards the goal. Whereas, vishalla being a campus of enjoyment with many functions of entertainment, the goal or destination get diverted by a lot of pauses and intervals according to the choice of the visitor. Thus, the path provides a random movement towards spaces. Sangath is an architect’s office, but every visitor has different goal or purpose of visiting. It provides a single path of movement that later segregates to different functions. Even though Hutheesing Jain temple, Vishalla and Sangath are having completely different functions, three of them have an elongated movement sequence. The long span of movement takes a certain (long) duration to reach the destination. This aspect gives a gradual transition from the outer chaotic world to the inner calm and peaceful environment. This transition helps to condition one’s mind.
122
CONCLUSION
0
10m
N 0
8m
UP
Figures showing Path of movement in Hutheesing jain temple, Vishalla and Sangath; 1. Hutheesing temple: path is directed towards single destination 2. Vishalla: paths leading to different destinations 3. Sangath: Single elongated path leading to different goals
0
20m
123
CONCLUSION
Type of sequence and nature of movement Hutheesing Jain temple The path of movement in hutheesing is directed only towards one destination. A single movement happens in the temple and the path passes through the spaces and terminates at the destination i.e. ‘garbhgriha’. Being a temple, the program here is more spiritual and emotionally attached rather than functional. The organization of the movement is also done according to all the pre-rituals that are necessary to perform before entering the main sanctum for the ‘darshan’. Thus, the path of movement moves through all the spaces that involve one’s attention and finally leads to the main deity. Vishalla While Vishalla is a place of enjoyment, where apart from the main purpose i.e. dinner, a visitor has different choices of enjoyment. Thus, the path of movement passes by many spaces leading one to their own choice of destination. Here, the goal of the campus reflects a character of informality. The Spaces are placed scattered and independently all over the campus. Sangath In sangath, the path passes by the spaces in the beginning. Being an office, all the spaces are interconnected and interdependent. Thus the path of movement passes through the spaces as per the functions and is quite a dynamic. The spaces unfold in such a way that the paths involve exploration and enriched experiential quality.
124
CONCLUSION
Visual and physical axis of movement The movement path gradually unfolds spaces through different visual and physical axis that occur at certain intervals during the movement. It generates a sense of discovery and assigns a dynamic character to the space. Hutheesing jain temple Though the movement from entrance to the destination, is aligned axially, the destination remains as a visual reference only. The physical axis of movement constantly changes till the destination. Each and every shift of axis always contains the destination as a pronounced point of reference. The one or many clues help to direct the movement through an axis to another axis. The semi open spaces throughout the path increase the visual connectivity and generate various interrelationships. Vishalla The path of movement constantly offers a change of physical and visual axis that makes one aware and conscious throughout the journey. The pauses and intervals make the movement path more interesting and enjoying. Unlike, in the temple, the change of axis doesn’t give a clear visual or physical clue about the destination. Thus, it imparts the sense of mystery or curiosity.
0
10m
Visual Reference Physical axis of movement
Sangath The movement through the approach path to the built form in Sangath continuously occurs through directing – redirecting axis of movement that generates a process of concealment and revelation. The built form is gradually revealed through visual axis (perception) while moving ahead in the journey. In the beginning, a small puncture in the exterior wall gives a clue about the linear alignment on the same axis of the interior spaces but the path with a shifting axis takes one through these spaces.
Hutheesing jain temple and Sangath, both gives clues of destination in the beginning of the journey, but only through a visual reference. The physical axis of movement constantly changes and gradually unfolds spaces through different visual axis till the destination. Whereas vishalla, doesn’t give clear visual or physical clue about the destination. Thus, it imparts the sense of mystery or curiosity.
125
CONCLUSION
Transition through movement 1.Entrance; Threshold Entrance is an important aspect of the built form as it gives a transition from one space to another. It helps to condition one’s mind about the ideology of the built form and even changes one’s pre-conceived notions.
Highly ornate space protruding out from the facade of temple emphasize the entrance; Projected Entrance.
In hutheesing, highly ornate space protruding out from the facade of the temple is a emphasized entrance inviting one inside. The composition of various articulated elements i.e. series of steps, ornate columns, figures and decorated threshold give ceremonial entry and transition into a deeply rooted spiritual environment from the Entrance emphasize normal routine. through open to In Vishalla, the entrance is quite contrasting to the temple. The transition from outer chaotic world to inner joyful environment till destination is emphasized through the transformation of open to semi open spaces. This is done through different elements and a prolonged path.
semi open spaces and change of character of space.
In sangath, the entrance gives a sense of subtle transition through semi open courtyard under a triple height space connected to the destination. The transition here is through open to semi open to closed space. 2.Enclosure The enclosure of the spaces helps to give a clue for further movement. It also acts as transitional aspect from the outer world to inner one. The character of space, enclosure as well as the scale and sizes gives a sense of functional involvement.
Recessed Entrance; Under a triple height semi open space.
The movement towards the ‘garbhagriha’ of the temple Nature of entrance, transition from one is also emphasized by the enclosure of the spaces that space to another; in Hutheesing jain increases gradually. According to the scale and size of temple, Vishalla and Sangath. the enclosure, in the beginning it provides involvement with people but gradually it decreases and increases involvement with God. It decreases the noise also. The gradual increase in volume due to the ‘shikhara’ profile also suggests the more and more connection with God. In Vishalla, the play of semi open and open spaces gives an episodic transition with a free movement. Here, the partial enclosure makes one feel homely and relaxed.
126
CONCLUSION
Sangath has an open approach that leads to semi open transitional space to linear enclosed working space with a opening at the end. From the open approach path leading to small semi open courtyard, it gives a transition to rigidly closed space under a long vault of. The control of noise through enclosure breaks the connection with outer world giving a calm working environment. 3.Natural Aspect Light in Hutheesing Jain Temple The constant change in the quality of light and shadow throughout the movement in the temple is one of the natural aspects that contribute in conditioning one’s mind. The increase in the intensity of light results in more sharp shadows that create a sense of depth also. The courtyard flooded with light gives a drastic break visually or directs the change of space. Whereas, in the main temple structure there is less fluctuation in the intensity of light due to the increased degree of enclosure leading to the darkest, most intimate space i.e.‘garbh-griha’. Thus, through a play of light, it successfully enriches the feeling of divinity. It is the aspect that also helps to control the visualization quality and perception of space. This invokes the senses and generating series of experiences. Village theme in Vishalla The composition of traditional elements helps to create thematic experiences. It leads one to the past world and gives a sense of village environment. It also evokes a person’s past memories that connect one with their own self. And this helps to generate a memorable space or experience throughout the campus. Variation of light and shadow occur through the informal organization of plantation. Plantation (landscaping) in Sangath The experience of movement in sangath comprises of natural elements. The organization of plantations plays major role in revealing and restricting the visual aspects. It also emerges as clues also for further journey. The surprise elements like the water body and steps through the path make the journey interesting. The whole path and experience is generated through the plantations that also control the physical movement.
127
CONCLUSION
Aspect of association The three case studies reflect the character of local architecture and life style of Ahmedabad. In all the three built forms, a courtyard is an element that been used in the movement sequence differently. In the hutheesing jain temple, the courtyard provides an interval in the movement before entering the main temple. It acts as a buffer zone between the circumambulatory path and the main shrine. Whereas in vishalla, though it is not well defined, major movement and connection of spaces happen through courts. In sangath, small semi open court acts as a transitional space between the outside and the built form.
Aspects of time and space Time and space is a very important aspect of generating the experience. The time at which one visits the space is a very important aspect. The experience of space constantly changes according to the time. In vishalla, the level of experience gained during the night is not achieved in the day time, due to a clear visibility of the space. Even it is affected by the seasons, like the monsoon is not the suggested time for visiting vishalla due to the use of mud, sand and semi-open spaces. Whereas in the hutheesing jain temple, a play of light and shadows during the day gives the depth to spaces generating experiences. Hence, one will not gain the same enriching experience and transformation from outer to the inner divine world during the night, as it renders all the space in same light.
128
CONCLUSION
To conclude... Architecture is not an object that can stand in isolation from the surrounding. But it is an extension of nature into man made a form. This aspect transforms and contributes to generating an experience in space. When one gets an opportunity to physically be in the space and interact with it, is the one of sense of gaining experience. The experience is achieved through the three dimensionality of form that are integrated with the phenomenon of movement with time. It evokes various inter-relationships through understanding and perceiving the surrounding space. Architecture has the ability to connect an individual with the form through the physicality of movement and surrounding environment that impact human senses. This study is an effort to understand the movement from nature’s domain to the man made domain. It makes a bridge between the individual and the built form through man made as well as natural elements in spaces. The visual perception gains an accurate reality of space at the human eye while moving. It continuously helps in conceiving and perceiving the space and generates the most effective experience. When user moves through space, their visual frame changes according to the interest or shift in axis, which gradually gives rise to a sequence of experience. Thus, the design of a sequence of movement is an important aspect in the architecture. The designing is also depended on the ideology of the building and certain information that need to be convey to the users. Kinesthetics plays a key role in experiencing the spaces. Various aspects are involved in the sequencing of space that majorly influences the phenomenon of spatial perception. The movement path comprises of a shift in physical as well as visual axis, sense of layering and the rhythmic process of concealment and revelation. This aspect when incorporated in the designing of sequence, generates a meaningful order that helps enriching the experience. When the spaces are gradually revealed or unfolded with context in time, a sense of discovery arises and a story gets narrated. It affects the perceiver’s mental as well as emotional state. The pauses, intervals and transitional spaces along the path are important aspects for giving a break physically as well as mentally. 129
CONCLUSION
The aspect of association and semiotics helps to generates relationship and emotionally connects the user with space. The aspect of time also plays a major in this phenomenon. Each and every move through space, one can explore and relate to it in a different manner. The various spatiality leaves an impact on the mind of the user. It is dependent on the manner in which one moves, understand and behave in the space. Hence, it is understood from the studies of various spaces that sequence of movement directly affects the perception of the space and gaining of experience within it. Thus, the movement plays a major role in perceiving and experiencing a space.
130
Bibliography
Reference Books
Arnheim, Rudolf, Dynamics of architectural form, University of California press, 1977 Baga, Sarbjit, Modern architecture in India: post-independence perspective, New Delhi Galgotia Pubs. Pvt. Ltd. 1993 Bergh, Wim Van Den, Luis Barragan: the eye embodied, Maastricht Pale Pink Publishers 2006 Bhatt, Vikram, Scriver Peter, Contemporary Indian Architecture: After the masters, Mapin Publishing Pvt. Ltd., Ahmedabad, 1990 Bloomer, Kent C; Moore, Charles W, Body, memory and architecture, New Haven, London etc Yale Uni. Press 1977 Brooker, Graeme; Stone Sally, Context + Environment, AVA publishing, 2008 Ching, Francis D.K, Architecture: form, space and order, Van Nostrand Reinhold, 1996 Curtis, William J.R., Balkrishna Doshi, An architecture for India, Ahmedabad, Mapin Pub. Pvt. Ltd., 1988 Dhaky, M.A. Ed, Hutheesing heritage: the Jain temple at Ahmedabad, Hutheesing Kesarsing Trust, Ahmedabad, 1998 Franck Karen A, Lepori R Bianca, Architecture, the inside out, Wiley- Academy, 2007 Gyorgy Kepes, Language of Vision, Courier Corporation, 1995 Holl, Steven & Others, Questions of perception; phenomenology of architecture, Tokyo A+U Publishing Co. Ltd. 2006 Isaac, Arg, Approach to architectural design, London Life books, 1971 Jain, Kulbhushan, Architecture conceptual to the manifest, AADI centre, 201 Kevin Lynch, Image of The City, Harvard University Press, Cambridge, 1960 Lane-Smith, Ron, Temple cave design, Vastu-Shilpa foundation,1996 Lang, Jon, Creating architectural theory: the role of the behavioural sciences in environmental design, Van Nostrand Reinhold, New York, 1987 Meiss, Pierre Von, Elements of architecture: from form to place, E & FN, London, 1990 Moholy, Nagy, Vision in motion, Paul Theobald, The Wisconsin Cuneo press, Chicago, 1947 Norberg-Schulz, Christian, Genius Loci: towards a phenomenology of architecture, New York Rizzoli International Pub. 1979 131
Norberg-Schulz, Christian, Meaning in Western Architecture, Rizzoli International Publications, New York, 1993 Pandya, Yatin, Concepts of space in traditional Indian architecture, Mapin Publishing Pvt Ltd, India, 2005 Rudolf Arnheim, The dynamics of architectural form, University of California press, 1977 Steele, James (ed.), The complete architecture of Balkrishna Doshi; Rethinking modernism for the developing world, Bombay, Super Book House, 1998 Yi-Fu Tuan, Space and Place: The Perspective of Experience, Edward Arnold (publishers) Ltd., London, 1977 Zucker Paul, Town and Square, New York Columbia Uni. Press, 1959 Unpublished thesis Gopalakrishnan S, Route of movement and its role in architectural design pedestrian, Cept University, Ahmedabad, 1977 Kazi Zahida, Perception of space through the aspect of movement: study of three campus architecture in Ahmedabad during the Islamic period, Cept University, Ahmedabad, 2000 Singh Priyamwada, The perceptual, conceptual dynamics of spacemaking, Cept University, Ahmedabad, 2013 Vyas Devna p., Land form and built form: a study of the characteristics, Cept University, Ahmedabad, 2007 Vyas Janki, Entrance Spaces a Study of Architectural Configurations in Residences, Cept University, Ahmedabad, 2014
132
Illustration credits Chapter 1
Fig 1.1.1: (1) http://papernews.it/2017/03/14/classifica-delle-migliori-6-illusioni-ottiche- circolate-sul-web/ (2) http://webneel.com/daily/13-oleg-shuplyak-illusion-two-birds FIG 1.1.2: http://architectureau.com/articles/left-over-space-house/ FIG 1.1.3: (1) http://www.barefootangiebee.com/2010/11/barefoot-trail-running.html http://www.morsfodterapi.dk/?pageid=34 (2) http://worldtour.org.uk/wp-content/uploads/2011/08/Greece-Athens.-Thetactile-system-installed-for-long-cane-users.-768x1024.jpg https://www.pinterest.se/nellyabannova/%D1%88%D0%BA%D0%BE%D0/ FIG 1.1.5: Pandya, Yatin, Concepts of space in traditional Indian architecture, Mapin Publishing Pvt Ltd, India, 2005 FIG 1.1.6: https://www.travelkhana.com/rail-infoabout-the-metro-station-near-humayunstomb/ http://lahore-123.blogspot.in/2011/11/badshahi-masjid-information-in-urdu.html FIG 1.1.7: http://archive.indianexpress.com/news/eidemilad-celebrated-with-fervour-across -kashmir-valley/908211/ http://bhaaratdarshan.com/mp/travel/dargah-sareef/ FIG 1.1.8: http://www.notjusttravel.com/sue-carne/experience-your-own-great-train-journeythis-year/ FIG 1.1.9: http://indian-collection.com/hindu-festivals.php?id=24 FIG 1.2.1: Meiss, Pierre Von, Elements of architecture: from form to place, E & FN, London, 1990 FIG 1.2.2: (1) http://picssr.com/photos/lamidesign/favorites/page6?nsid=8185068@N05 (2) http://enacit3srv5.epfl.ch/alice2/WP_2010/studiokaracsony/?cat=40 FIG 1.2.3: Meiss, Pierre Von, Elements of architecture: from form to place, E & FN, London, 1990 FIG 1.2.4: (1) https://en.wikipedia.org/wiki/Optical_illusion (2)https://upload.wikimedia.org/wikipedia/commons/4/4b/Two_silhouette_profile _or_a_white_vase.jpg FIG 1.2.5: (1) https://es.pinterest.com/explore/golden-ratio-examples/?lp=true (2) http://justfunfacts.com/interesting-facts-about-the-parthenon/ FIG 1.2.6: https://abe.revues.org/656?lang=de https://pt.slideshare.net/neharampuria8/atma-le-corbusier https://ltlskt-dhxd.com/2014/01/10/tru-so-hiep-hoi-tho-det-o-ahmedabad-kts-lecorbusier/ FIG 1.2.7: (1) https://c1.staticflickr.com/1/37/125055717_d7ebba22d1_z.jpg?zz=1 (2) https://mehtaworld.files.wordpress.com/2014/09/imag1250.jpg (3) https://media-cdn.tripadvisor.com/media/photo-s/09/89/2a/a3/balan-dosa.jpg
Chapter 2
FIG 2.1.1: https://www.guggenheim.org/the-frank-lloyd-wright-building FIG 2.1.2: https://www.curbed.com/architecture/archives?page=13 FIG 2.1.3: http://www.metamorphosis-onlinejournal.com/modhera.html FIG 2.1.4: Jain, Kulbhushan, Architecture conceptual to the manifest, AADI centre, 201 FIG 2.2.1: Ching, Francis D.K, Architecture: form, space and order, Van Nostrand Reinhold, 1996 FIG 2.2.2: (1) http://www.fotolibra.com/gallery/402380/villa-barbaro-maser-treviso-italy/ (2) http://identicaleye.blogspot.in/2010/01/harvard-five-in-new-canaan.html FIG 2.2.3: Ching, Francis D.K, Architecture: form, space and order, Van Nostrand Reinhold, 1996
133
FIG 2.2.4: (1) https://www.makemytrip.com/travel-guide/media/dg_image/fatehpur_sikri/ Buland-Darwaza-Fatehpur-Sikri.jpg (2)http://www.bookinguz.com/images/uzbekistan/cities/bukhara/pamyatniki/ bolohauz/bookinguz_bolo_hauzl3.jpg (3) https://media1.britannica.com/eb-media/13/100813-004-E3EB9793.jpg FIG 2.2.5: Ching, Francis D.K, Architecture: form, space and order, Van Nostrand Reinhold, 1996 FIG 2.2.6: (2) https://es.pinterest.com/pin/532339618436218156/ (3) http://www.alamy.com/stock-photo-woman-making-kolam-or-rangoli-in-front-ofhouse-pongal-festival-harvest-88247094.html FIG 2.2.7: https://www.shutterstock.com/image-photo/poitiers-france-september-12-2016colorful-531502231?src=McMSIl3UJ2czYeSRjB4VBA-1-14 FIG 2.2.8: https://rctravels.files.wordpress.com/2014/09/chand-baori-02.jpg FIG 2.2.9: https://navrangindia.files.wordpress.com/2016/02/09481-details_of_stone_carving _at_adalaj_stepwell_iv252c_adalaj252c_gujarat.jpg FIG 2.2.10:http://www.canterbury-archaeology.org.uk/communities/7/004/013/261/347/ /images/4624377336.jpg FIG 2.2.11:https://www.123rf.com/photo_14976939_row-of-traditional-houses-of-amsterdam -holland.html FIG 2.2.12:(1) http://www.tripsteri.fi/rooma/piazzat/piazza-di-spagna/ (2) http://gr.askmen.com/deutere-matia/1107461/article/poioi-einai-oi-pio-akriboi -dromoi-tou-kosmou-gia-psonia FIG 2.3.1: (1) http://www.medart.pitt.edu/image/england/canterbury/cathedral/Plans/ df424can-b.jpg (2)https://upload.wikimedia.org/wikipedia/commons/8/8b/Eastern_State_ Penitentiary_Floor_Plan_1836.png (3) https://68.media.tumblr.com/tumblr_m7l9gcGP2F1qln4yro1_500.jpg (4) https://www.cointalk.com/attachments/79923_camp_lg-gif.610235/ FIG 2.4.1: http://media.architecturaldigest.com/photos/56834606b313ecbd18114b12/4:3/ w_740/001%20IMG_3427.jpg FIG 2.4.2: https://media-cdn.tripadvisor.com/media/photo-s/0d/11/28/ba/saint-paul-scathedral.jpg FIG 2.4.3: (1) http://www.designboom.com/cms/images/erica/---layer/layers01.jpg (2) https://c1.staticflickr.com/3/2830/10467776116_89beb186ff_b.jpg FIG 2.4.4: http://stor.artstor.org/stor/30b7b117-6a4e-4675-b5b1-9c26082185e7_size4 FIG 2.4.5: (1)http://www.prophetpbuh.com/wp-content/uploads/2014/02/Rays-of-Light-EnteringIstanbul-Mosque-Islamic-Architecture-Picture.jpg (2) http://teabj.com/wp-content/uploads/2017/01/nonsensical-architecture-light-e 9d3f4ad0c5e215e58ae0e9e227f2e95jpg.jpg
Chapter 3
FIG 3.1.4: https://c1.staticflickr.com/6/5179/5514221960_7d1837a927_b.jpg https://c1.staticflickr.com/2/1556/25452109202_18860148ff_b.jpg FIG 3.2.1, 3.2.2: Aashini sheth, Karan Gajjar, Malay Doshi, Neel Jain, Priyanka Sheth, Riyaz Tayyaibji, Shalin Bhatt, Tanvi Jain et al. Exhibition Stepwells of Ahmedabad at Kanoria Centre for Arts. Ahmedabad: Anthill Design, 2016. FIG 3.2.6: (1) http://important.ibphub.com/AdminLTE-2.1.1/uploads/places/Dada%20Hari%20 Ni%20Vav3.jpg FIG 3.3.7: https://designstrata.files.wordpress.com/2014/11/cr4.jpg FIG 3.3.10:https://architexturez.net/data/styles/large/public/media/dpc3949_page_2-bw_0.png
Chapter 4 4.1 Hutheesing Jain Temple
FIG 4.1.1: https://upload.wikimedia.org/wikipedia/commons/thumb/9/99/Sheth_Hutheesinh_ Temple.jpg/1200px-Sheth_Hutheesinh_Temple.jpg FIG 4.1.6: http://static.panoramio.com/photos/large/82666613.jpg FIG 4.1.7: http://static.thousandwonders.net/Hutheesing.Jain.Temple.original.912.jpg 134
FIG 4.1.8: Dhaky, M.A. Ed, Hutheesing heritage: the Jain temple at Ahmedabad, Hutheesing Kesarsing Trust, Ahmedabad, 1998 FIG 4.1.13:http://cdn.findmessages.com/images/2016/03/181-hutheesing-jain-templeahmedabad-gujarat-2.jpg FIG 4.1.16:http://cdn.findmessages.com/images/2016/03/924-zharookho-of-hutheesing-jaintemple.jpg FIG 4.1.18:https://upload.wikimedia.org/wikipedia/commons/thumb/3/3b/Hathi_Singh_Jain_ Temple_82.jpg/220px-Hathi_Singh_Jain_Temple_82.jpg FIG 4.1.19:http://www.gujarattourism.com/file-manager/phot-gallery/ahmedabad_metro_ hutheesing_jain_temple_003.jpg FIG 4.1.30:http://cdn.findmessages.com/images/2016/03/926-shree-hathisingh-jain-temple .jpg FIG 4.1.31:http://sphotos-h.ak.fbcdn.net/hphotos-ak-ash3/64013_438077340868_1923272 _n.jpg FIG 4.1.32:http://cdn.findmessages.com/images/2016/03/181-hutheesing-jain-templeahmedabad-gujarat-3-500x333.jpg FIG 4.1.36 http://www.gettyimages.in/detail/news-photo/jain-devotees-visit-a-hutheesingjain-temple-on-the-last-news-photo/123233978?esource=SEO_GIS_CDN_Redirect# jain-devotees-visit-a-hutheesing-jain-temple-on-the-last-day-of-as-picture-id FIG 4.1.22, 4.1.14, 4.1.27, 4.1.33, 4.1.38, 4.1.39, 4.1.40, 4.1.45, 4.1.52 https://www.shutterstock.com/search?search_source=base_landing_page& language=en&searchterm=+hutheesing+jain+temple&image_type=all
4.2 Vishalla
FIG 4.2.1: http://www.vishalla.com/images/banner-1.jpg FIG 4.2.2: self FIG 4.2.10:https://travelknots.files.wordpress.com/2016/07/vishala5.jpg?w=474&h=316 FIG 4.2.13: http://www.plea2014.in/wp-content/uploads/2014/10/vishala-221.jpg http://www.vishalla.com/images/banner-2.jpg http://www.vishalla.com/images/banner-10.jpg http://farm4.static.flickr.com/3871/14673086518_6d5015fe22.jpg FIG 4.2.14:http://www.vishalla.com/images/banner-3.jpg http://farm4.static.flickr.com/3864/14879580363_9e4d6f64eb.jpg https://img.grouponcdn.com/deal/nvJ7qkpuc4FBoim3K1xxoP/main-700x420 http://www.vishalla.com/images/banner-4.jpg
4.3 Sangath
FIG 4.3.1: https://dome.mit.edu/bitstream/handle/1721.3/58120/149772_sv.jpg?sequence=2 FIG 4.3.9, 4.3.35, 4.3.36, 4.3.37: Curtis, William J.R., Balkrishna Doshi, An architecture for India, Ahmedabad, Mapin Pub. Pvt.Ltd., 1988 FIG 4.3.22:(1) https://i1.wp.com/ad009cdnb.archdaily.net/wp-content/uploads/2011/08/ 1312991088-sangath10.jpg (2) http://3.bp.blogspot.com/-L7PNJw_hVLo/URx-hRzyGkI/AAAAAAAAAmY/ RvP8lS2uPOM/s1600/1330665354.jpg (3) https://c1.staticflickr.com/2/1099/4607423420_30010998c5_b.jpg FIG 4.3.25:(1) http://img.worldarchitecture.org/net/bin.aspx?file=90215.jpg FIG 4.3.27:(3) https://s-media-cache-ak0.pinimg.com/564x/29/c4/3c/29c43c34abecf2205d53 c8ad9edef7e1.jpg FIG 4.3.32:https://architexturez.net/data/styles/az_cf_core_l-sidebar_content/public/media/ fls0328_sangath_-1.png FIG 4.3.33:https://archnet.org/system/media_contents/contents/10580/original/IAA1362. jpg?1384691610 FIG 4.3.34:https://archnet.org/system/media_contents/contents/10581/medium/IAA1363. jpg?1384691611 FIG 4.3.38:http://images.adsttc.com/media/images/5038/1799/28ba/0d59/9b00/0de8/ medium_jpg/stringio.jpg?1414199065 135