DRAMA IN SPACE AND ARCHITECTURE

-Aashi Mathur

M.B.M ENGINEERING COLLEGE, JODHPUR DEPARTMENT OF ARHITECTURE AND TOWN PLANNING

DISSERTATION 2018 - 2019

DRAMA IN SPACE AND ARCHITECTURE A report submitted in Partial fulfilment of requirements for the degree Of Bachelors in Architecture

DISSERTATION GUIDE – AR. ANSHU AGRAWAL DISSERTATION COORDINATORAR. PULKIT GUPTA

SUBMITTED BY- AASHI MATHUR 16BAR20013 B.ARCH 4TH YEAR 2018-2019

CERTIFICATE This is to certify that this report titled ‘Drama in Space and Architecture’ submitted by Aashi Mathur (Student roll no.

16BAR20013) of IV year, B.Arch. (2018-2019) in partial fulfilment for the award of the degree of Bachelor of Architecture is satisfactory and approved for submission. This is a bona-fide work of the student and has not been submitted to any other

university for award of any Degree/Diploma.

Student

Dissertation Guide

Aashi Mathur

Ar. Anshu Agrawal

16bar20013

DRAMA IN SPACE AND ARCHITECTURE

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DECLARATION I, Aashi Mathur (Student roll no. 16BAR20013), student of IV year B.Arch., Department of Architecture and Planning, M.B.M. Engineering college, Jodhpur hereby declare that my Dissertation preparatory report titled ‘Drama in Space and Architecture ’ in partial fulfilment for the award of the degree of Bachelor of Architecture contains my original work supplemented by data from primary as well as secondary sources which have been duly acknowledged. This work has not been submitted to any other institution for the award of any Degree/Diploma.

Aashi Mathur 16BAR20013 IV year. B.Arch.

Department of Architecture & Planning, M.B.M. Engineering college, Jodhpur

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ACKNOWLEDGEMENT I would like to express my sincere gratitude to my Dissertation guide, Ar. Anshu Agrawal for providing her invaluable guidance, comments and suggestions throughout the course of this report. I would also like to thank Dr. Pulkit Gupta , our Dissertation co-ordinator, for giving us directions regarding the approach to the project. I am highly grateful to Ar. Anshu Agrawal, our Head of the Department, who helped me to carry out my study in a better way and making me work towards correct approach. Lastly, I would like to thank my parents and friends who gave me constant encouragement and moral support towards my study.

Aashi Mathur 16BAR20013

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CONTENT Certificate

…(i)

Declaration

…(ii)

Acknowledgement

…(iii)

Content

…(iv)

List of figures and table

…(ix)

CHAPTER 1: INTRODUCTION 1.1

Brief introduction

1.2

Significance

1.3

Aim and Objective

1.4

Need and Scope

1.5

Hypothesis

1.6

Concerns

1.7

Methodology

1-5 1 2 2 3 3 4 5

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6-9

CHAPTER 2: DRAMA 2.1

The Beginning

6

2.2

Modern Drama

7

2.3

Types of Drama

8

CHAPTER 3: FACTOR AFFECTING DRAMA

10-32

IN ARCHITECTURE 3.1

Lighting

10

3.2

Colors

13

3.3

Emotions

21

3.5

Architectural language

23

3.6

5 senses

24

3.7

Elements of contrast

27

3.8

Articulation of forms

28

3.9

The Orchestration Of Special Progression

29

3.10

Experiencing architecture

31

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CHAPTER 4: ART MOVEMENTS AND ITS IMPACT ON DRAMA AND ARCHITECTURE

33-47

4.1

Abstract

33

4.2

Neoclassicism

34

4.3

Romanticism

38

4.4

Art Deco

41

4.5

Art Nouveau

44

CHAPTER 5: PRINCIPLE OF DESIGN IN

48-64

DRAMA IN ARCHITECTURE 5.1

Balance

48

5.2

Rhythm

52

5.3

Emphasis

55

5.4

Contrast

57

5.5

Movement

59

5.6

Harmony

61

5.7

Proportion and scale

63

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CHAPTER 6: CASE STUDY

65-106

6.1

Matrimandir – Pondicherry

65

6.2

Luxembourg Pavilion - Expo 2020

77

6.3

Play space At Octubre Hospital

84

6.4

Hangzhou Haishu School of Future

94

6.5

Analysis

104

CHAPTER 7: RECOMMENDATION

107

7.1

In Planning

108

7.2

In Interior

111

CHAPTER 8: CONCLUSION

114

CHAPTER 9: PROPOSAL

116

CHAPTER 10: BIBLOGRAPHY

122

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LIST OF FIGURES AND TABLE Fig no. 1

-Melbourne: Dramatic Architecture Down Under by Ian McDougall (ARM Architecture)

Fig no. 2

-These two masks associated with drama represent the traditional generic division between comedy and tragedy.

Fig no. 3

-Walt Disney Concert Hall Frank gehry

Fig no. 4

-Light Matters: Louis I Kahn (Yale University Art Gallery)

Fig no. 5

-Light Matters: Louis I Kahn (open to sky)

Fig no. 6

-Color in architecture

Fig no. 7

- Red Color In Architecture

Fig no. 8

- Orange Color In Architecture

Fig no. 9

- Yellow Color In Architecture

Fig no. 10

- Green Color In Architecture

Fig no. 11

-Blue Color In Architecture

Fig no. 12

- White Color In Architecture

Fig no. 13

-Wilson Secondary School by Bjarke ingels (BIG architects, Denmark)

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LIST OF FIGURES AND TABLE Fig no. 14

-5 Senses in architecture

Fig no. 15

-Royal Ontario museum

Fig no. 16

-Everson museum of art, New York

Fig no. 17

-Palacio Guell, Baecelona

Fig no. 18

-Art movements

Fig no. 19

-Neoclassicism

Fig no. 20

-White house

Fig no. 21

-Royal pavilion at brighton, 1851

Fig no. 22

-Curving details of Royal Pavilion at Brighton,

Fig no. 23

-Example of an Art Deco theater building. Notice the opaque plate glass exterior wall surfaces and the glass blocks in the tower

Fig no. 24

-The Empire State Building

Fig no. 25

-Casa Batllรณ, Barcelona

Fig no. 26

-Balance

Fig no. 27

-Symmetrical balance

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LIST OF FIGURES AND TABLE Fig no. 28

-Asymmetrical balance

Fig no. 29

-Radial balance

Fig no. 30

-Asymmetrical balance

Fig no. 31

-Balance Using Space

Fig no. 32

-Balance Using Texture

Fig no. 33

-Balance Using Shapes

Fig no. 34

-Balance Using Colours

Fig no. 35

-Rhythm

Fig no. 36

-Rhythm by Opposition

Fig no. 37

-Rhythm by Gradation

Fig no. 38

- Rhythm by Radiation

Fig no. 39

-Rhythm by Repetition

Fig no. 40

-Rhythm by Transition

Fig no. 41

-Emphasis

Fig no. 42

-How to Create Emphasis?

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LIST OF FIGURES AND TABLE Fig no. 43

-Variety (Contrast)

Fig no. 44

-Contrast In Space

Fig no. 45

-Contrast In Texture

Fig no. 46

-Contrast In Size & Shape

Fig no. 47

-Contrast In Colour

Fig no. 48

-Contrast In Colour

Fig no. 49

-Movement

Fig no. 50

- Movement In Architecture

Fig no. 51

-Movement Patterns

Fig no. 52

- Movement In Architecture

Fig no. 53

- Harmony

Fig no. 54

-Harmony By Unity And Variety

Fig no. 55

-Scales

Fig no. 56

-Proportions

Fig no. 57

-Chair And Its Relation To Scale And Proportions

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LIST OF FIGURES AND TABLE Fig no. 58

-Matrimandir, Auroville

Fig no. 59

-Plan Of Matrimandir, Auroville

Fig no. 60

-Top View

Fig no. 61

-Inner Chamber

Fig no. 62

-Mother’s Symbol

Fig no. 63

-Inner Pillared Chamber

Fig no. 64

-The Crystal Globe

Fig no. 65

- Play space At Octubre Hospital

Fig no. 66

-Conceptual Sketch

Fig no. 67

-Water Patch

Fig no. 68

- Dome

Fig no. 69

-Rendered Plan And Section

Fig no. 70

-3-d View

Fig no. 71

-Luxembourg Pavilion - Expo 2020

Fig no. 72

-Site

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LIST OF FIGURES AND TABLE Fig no. 73

-Evolution Of Form

Fig no. 74

-Frame Structure

Fig no. 75

-Blowout Diagram

Fig no. 76

-Scenography

Fig no. 77

-Ground Floor Plan

Fig no. 78

-First Floor Plan

Fig no. 79

-Section BB’

Fig no. 80

- Section AA’

Fig no. 81

-Hangzhou Haishu School Of Future

Fig no. 82

-Site

Fig no. 83

-Exposed Stairs And Corridors

Fig no. 84

-Colorful Gable

Fig no. 85

-Roof Playground

Fig no. 86

-Top View

Fig no. 87

-Sketch By Student

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LIST OF FIGURES AND TABLE Fig no. 88

-Site Plan

Fig no. 89

-Plans And Elevations

Fig no. 90

-Sections

Fig no. 91

-Poor Living Condition

Fig no. 92

-The Approach

Fig no. 93

-Pergola (made from waste plastic bottles)

Fig no. 94

-Sitting areas (made from old tires)

Fig no. 95

-Coloured Walls

Fig no. 96

- Architectural Characteristics

Flow chart. 01

- Methodology

Table no. 01

-Analysis

Table no. 02

-Analysis

Table no. 03

-Analysis

Table no. 04

- Details Of Existing Land Use

Table no. 05

- Details of SITE

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CHAPTER 1: INTRODUCTION In architecture, spaces that draw on the human sense of curiosity are said to have mystery — they foster the creation of drama or suspense by alluding to architectural spaces or features while keeping them partially concealed.

Architecture is one of those thing which can be seen everywhere, buildings are all around us and can have a huge impact on someone’s life. As a layman all we see are buildings around us be it your home, your office, or a school. We all are surrounded by architecture. Similarly architecture is surrounded by people that see it. And as an architect it’s our job to understand what we give to the society.

So the question arises how we can make this change from everything which is just simply done without giving a thought.

How can we as an architect bring the change? Answer lays in the old architectural styles used in different zones during different times a how we evolved through this.

“We shape our buildings; Thereafter they shape us” Fig no. 01

-Winston Churchill

-Melbourne: Dramatic Architecture Down Under by Ian McDougall (ARM Architecture)

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SIGNIFICANCE An architecture that’s immediately comprehensible presents little challenge to the mind — it simply isn’t as interesting as a space that keeps us guessing. And although entertainment is not a designer’s primary charge, an intriguing space is inevitably more memorable than one that simply functions.

Architecture moves us, it elicits different emotions. It can bring back memories, but it can also elicit direct emotions, like letting you feel small or big, or give us a save feeling or an unsafe one. Architecture is sometimes even able to bring us in a spiritual mood. But the same space can make someone feel calm and another person would maybe feel uncomfortable or

even unsafe there, still most of the people feel small in a big gothic church and unsafe in dark alley at night. Architectural space have certain atmospheres which influence the emotional state of a person; the interaction between the environment and its occupant.

AIM AND OBJECTIVE The main aim of this dissertation is to know how architecture has evolved through time. The aim is to know the difference in how the modern architecture has become commercialised that we have started not to care, how a building can influence someone’s life. How can someone be affected by a building that he sees daily.

Have we forgotten architecture’s core, that is to make our surrounding a better place to live or we have now been so money minded that the quality of life is a luxury?

The objective is focus on how planning, façade treatment, light and shadow play an important role in architecture and how it creates drama in the same. Drama in architecture is playing with every little detail of a building.

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HYPOTHESIS Proving the practical implementation of all the theories given by famous dramatics and architects. And giving a basic design solution to keep in mind while designing a structure.

NEED AND SCOPE Study of drama in architecture is all about knowing the core value of architecture; it’s not only about giving you shelter. It should be able to excite you, to calm you, to make you think. Architecture is all about emotions and how you chose to implement it in your designs. Drama in architecture is shown by a lot of things like; • Lighting – Natural or artificial • Planning – techniques • Shading devices you use in façades

• The way your building looks; what it speaks • Use of colours and shapes- playing with emotions • Play with materials.

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CONCERNS 1. What role does drama plays in architecture?

2. How can it affect the way we see our surroundings?

3. Importance of lighting in architecture and its relationship with drama in the same?

4. How can we deal with emotions through architecture?

5. Play of colours to change someone's perspective.

6. What are the concerns of the user?

7. And what are the architectural means to create these atmospheres?

8. How can architects design atmosphere attuned to concerns of the user?

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OBJECTIVE

METHODOLOGY SCOPE

LITRATURE STUDY

CASE STUDY

FACTORES

ANALYSIS

ART MOMENTS

GUIDLINES

CONCLUSION Flow chart. 01

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CHAPTER 2: DRAMA Drama is the specific mode of fiction represented in performance: a play, opera, mime, ballet, etc, performed in a theatre, or on radio or television.

Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics (c. 335 BC)—the earliest work of dramatic theory.

These two masks associated with drama represent the traditional generic division between comedy and tragedy.

Fig no. 02

The term "drama" comes from a Greek word meaning "action". The two masks associated with drama represent the traditional generic division between comedy and tragedy.

The use of "drama" in a narrower sense to designate a specific type of play dates from the modern era. "Drama" in this sense refers to a play that is neither a comedy nor a tragedy—for example, Zola's Thérèse Raquin (1873) or Chekhov's Ivanov (1887).

The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a collective form of reception. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception.

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MODERN DRAMA Romanticism gave way to Realism during the 19th century, paving the way for the era of contemporary drama in the 20th century. Contemporary drama shows the influence of all that has come before. Modern drama involved much experimentation with new forms and ideas. In the early part of the 20th century, musical drama came to dominate stages in New York and England, although each theatre season saw the release of straight dramatic plays as well.

Many movements generally lumped together as the avant-garde, attempted to suggest alternatives to the realistic drama and production. The various theoreticians felt that Naturalism presented only superficial and thus limited or surface reality-that a greater truth or reality could be found in the spiritual or the unconscious.

Others felt that theatre had lost touch with its origins and had no meaning for modern society other than as a form of entertainment. Paralleling modern art movements, they turned to symbol, abstraction, and ritual in an attempt to revitalize the theatre. Although realism continues to be dominant in contemporary theatre, television and film now better serve its earlier functions.

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TYPES OF DRAMA Dramatic performances are generally classified into specific categories according to the mood, tone, and actions depicted in the plot. Some popular types of drama include:

Comedy: Lighter in tone, comedies are intended to make the audience laugh and usually come to a happy ending.

Comedies place offbeat characters in unusual situations causing them to do and say funny things. Comedy can also be sarcastic in nature, poking fun at serious topics. There are also several sub-genres of comedy, including romantic comedy, sentimental comedy, a comedy of manners, and tragic comedy—plays in which the characters take on tragedy with humor in bringing serious situations to happy endings.

Tragedy: Based on darker themes, tragedies portray serious subjects like death, disaster, and human suffering in a dignified and thought-provoking way. Rarely enjoying happy endings, characters in tragedies, like Shakespeare's Hamlet, are often burdened by tragic character flaws that ultimately lead to their demise.

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Melodrama: An exaggerated form of drama, melodramas depict classic one-dimensional characters such as heroes, heroines, and villains dealing with sensational, romantic, and often perilous situations. Sometimes called “tearjerkers,” examples of melodramas include the play The Glass Menagerie by Tennessee Williams and the classic movie of love during the Civil War, gone with the Wind, based on Margaret Mitchell’s novel.

Farce: Featuring exaggerated or absurd forms of comedy, a farce is a nonsensical genre of drama in which characters intentionally overact and engage in slapstick or physical humor. Examples of farce include the play Waiting for Godot by Samuel Beckett and the hit 1980 movie Airplane! written by Jim Abrahams.

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CHAPTER 3: FACTOR AFFECTING DRAMA IN ARCHITECTURE Drama in architecture has a great importance not only in terms of aesthetics but also in order to how you feel about certain things or places in a place and what image it forms in our mind.

Study of drama in architecture is all about knowing the core value of architecture; it’s not only about giving you shelter. It should be able to excite you, to calm you, to make you think. Architecture is all about emotions and how you chose to implement it in your designs. Drama in architecture is shown by a lot of things like;

1. Lighting – Natural or artificial 2. Planning – techniques 3. Shading devices you use in façades 4. The way your building looks; what it speaks 5. Use of colours and shapes- playing with emotions 6. Play with materials.

-Light Matters: Louis I Kahn (Yale University Art Gallery)

Fig no. 03

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LIGHT CREATING DRAMA IN SPACE I sense light as the giver of all presence, and material as spent light.

What is made by light casts a shadow, and the shadow belongs to light.

-Louis I khan( German Architect) Light holds a key position in all the visual arts, particularly in Architecture. Lighting condition effects human being emotionally also. The change in the quality of light brings a change in the mood of the observer. The space inside a building can be dramatized with the proper use of light. Depending on this aspect various spaces require various quality of lighting, which is largely determined by the activity to be performed in that space. In recent days light is not only a prerequisite to observe things but also adds a philosophical aura in Architecture.

We prefer natural light to artificial lighting for various reasons but in absence of natural light, artificial or supplementary lighting is required to improve illumination of the room to achieve satisfactory level of light for certain tasks. Whether emitted by a natural or artificial source, changes in the concentration of light, or in the general characteristics of light emission, often induce subconscious response in the observer. It is this emotional aspect of the lighting problem that provides the real challenge to the imagination and creative judgment of the designer, which extends beyond the scope of simple illumination.

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The character of daylight – its intensity, direction, and colour – influences how spaces and objects are accentuated and perceived. These parameters are well know from nature, such as when the sun changes direction, intensity and colour

throughout the day. Most humans know by heart how their surroundings change according to changes in light’s character: for example, how spaces and objects shift character when clouds cover the sun, creating diffuse daylight where shadows are dissolved in a second. Likewise, humans sense the dynamic from the changing of light under dynamic weather conditions, and when, for example, a tree canopy filter the sun and skylight to create a fluctuating dappled light. Humans sense these changes foremost via the eyes and the brain – and most often it reminds one of being close to nature and origins.

The fact that people spend more and more time in artificially illuminated environments makes it both worthwhile and essential to develop strategies that ensure such environments can still positively stimulate our senses and enhance our feelings of living in connection with nature. Here light plays an important role, and it is crucial that architectural ideas and

concepts employ strategies for the use of daylight and artificial lighting.

Fig no. 04

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COLOUR IN ARCHITECTURE “... for the human eye there is no space without its colour; and no colour that does not create its own space. When you open your eyes the texture of the entire visual field consists of one thing: and that is colour.�

Generally color affects on feelings, physical status, psychological moods and even daily conversations i.e. color of space users` environment make them think about warm feelings and vice versa cold and depression and impatient feeling. Color and environment lighting bear spiritual effects, so that the load and energy affecting space users decisions significantly.

Now a good, positive mood can reinforce while negative moods can weaken the system, one can see direct, stable effects of the color in human life, that how it interferences spiritual and physical health, While human being does not feel or observe it directly, color psychologists can help us in this regard Everyone knows about color psychology less or more for example colors such as blue, green are more relaxing, red and orange considered as simulator, attractive, exciter, and some research show that red raises blood pressure and increase breathing and heartbeat,

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Today color effects and energy are not considered when using and compounding them together, using white color and other colored compounds considered only for aesthetic aspects, and various happy colors are used efficiently in carpet, ground cloth, curtains and other furniture. Selecting different colors was common in simple interior designing and utilized to indicate the nation/king`s power and greatness. Correct use of color in building is so crucial that we shall study the culture and color concepts before coloring plan i.e. considering conceptual/applied aspects of colors in architecture spaces, one shall consider historical era, and place of the building construction.

Since a color may be considered as ritual and symbolic one, while its considered as pleasurable in another culture, for example red considered as ritual and symbolic in a nation and vitality and succulent in another one. Concept and application of architectural

color depends on historical time era, so that Turquoise and blue color were used in mosques until Saljoghian era in Iran, but conceptualized as cultural ritual concept, colors in architecture reflecting

concepts

and

different

factors

including natural

environment of cultural/social and aesthetic, to the other word, many colors are proportional and the result of space users indoctrination but one can`t neglect its effects.

DRAMA IN SPACE AND ARCHITECTURE

-Color in architecture

Fig no. 05

14

RED Effect: exciting, stimulating Association: Positive: passionate, fervid, active, strong, warm Negative: intense, aggressive, raging, fierce, bloody Character: Red is the most dominant and dynamic color.

The eye actually has to adjust focus, since the natural focal point of red lies behind the retina. Consequently red appears closer than it is.

Ceiling: intruding, disturbing, heavy Walls: aggressive, advancing Floor: conscious, alert The most physical color in spectrum. Associated with heart.

And blood, the color red has been proven to raise the - Red Color In Architecture

heartrate and energy level.

Fig no. 07

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ORANGE Effect: exciting, stimulating, cheering Association: Positive: jovial, lively, energetic, extroverted Negative: intrusive, blustering Character: Orange is less masculine than red. It has very few negative associations. However, it may appear cheap or without vigor if low in saturation.

Ceiling: stimulating, attention-seeking Walls: warm, luminous

Floor: activating, motion-oriented The color orange is know to encourage active and stimulate Conservation. Subjectively, the vibrant color is either greatly liked or disliked.

- Orange Color In Architecture

Fig no. 08

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YELLOW Effect: cheering Association: Positive: sunny, cheerful, radiant, vital Negative: egocentric, glaring Character: When pure, yellow is the happiest of all colors.

In radiates warmth, cheerfulness, and inspiration and signifies enlightenment, and communication.

Ceiling: light (towards lemon), luminous, stimulating Walls: warm (towards orange), exciting to irritating (highly saturated) Floor: elevating, diverting Besides being directly related to sun, color yellow is the easiest color for a human eye t se. different shades of yellow conveys different messages. A light yellow might bring warmth and softness to your home, whereas a bright yellow might raise emotional temperature and increase liveliness

- Yellow Color In Architecture

Fig no. 09

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GREEN Effect: retiring, relaxing Association: Positive: tranquil, refreshing, quiet, natural

Negative: common, tiresome, guilty Character: Contrary to red, when looking at green the eye focuses exactly on the retina, which makes green the most restful color to the eye. Green can symbolize nature but also mold and sickness.

Ceiling: protective, reflection on the skin can be unattractive Walls: cool, secure, calm, reliable, passive, irritating if glaring (electric green) Floor: natural (if not too saturated), soft, relaxing, cold (if towards blue) The color of nature, green is the most seen color in the world. Therefore, green can provoke a multitude of moods from environment awareness to fertility and growth. In interiors, green is often placed in environments that are meant to smooth and encourage mental relaxation.

DRAMA IN SPACE AND ARCHITECTURE

- Green Color In Architecture

Fig no. 10

18

BLUE Effect: retiring, relaxing Association: Positive: calm, sober, secure, comfortable, noble Negative: frightening, depressing, melancholy, cold Character: Blue appears to be transparent, wet, cool, and relaxing.

Opposite to red, blue will decrease a person’s blood pressure and pulse rate.

Ceiling: celestial, cool, receding (if light), heavy and oppressive (if dark) Walls: cool and distant (if light), encouraging and space deepening (if dark) Floor: inspiring feeling of effortless movement (if light),

substantial (if dark) The color of the water and sky, blue is the color of serenity and calmness. It is the top favorite color in the world Blue is also associated with many religious practices meaning mercy and

- Blue Color In Architecture

Fig no. 11

honor.

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WHITE Effect: disconcerning Association: Positive: clean, crisp, bright Negative: empty, sterile Character: There are a lot of psychological and physiological justifications for not using white as a dominant color.

Ceiling: empty, no design objections-helps diffuse light sources and reduce shadows Walls: neutral to empty, sterile, without energy Floor: touch-inhibiting (not to be walked upon)

As the white flag indicates a truce, the color white also is a symbol od peace. It is the �presence of light� and the best way to represent, which reflect the emotions effects of clarity and - White Color In Architecture

purification.

Fig no. 12

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EXPRESSION OF EMOTION Architecture is about trying to make the world a little bit more like our dreams.

-Bjarke ingels (BIG architects, Denmark)

Architecture can trigger emotion. Just look at how designed memorials can trigger emotions like pride, sadness, or gratitude. Similarly, other building types can yield surprise or can even mellow one’s mood. It all becomes a matter of

how a particular place is designed — to trigger for an emotional response in its occupants.

Emotion in architecture can often be linked to how well an architecture exudes a “sense of place” — where the emotion experienced of a particular architecture can be

shaped by its “sense of place”. Often, “sense of place” can help an architecture take on a type of personality — and this personality can serve to trigger emotion in its building occupants because it connects with them.

-Wilson Secondary School by Bjarke ingels (BIG architects, Denmark)

Fig no. 13

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In essence, emotion is a critical link that impacts the perception of architecture by occupants. So, how do you do it? How do you design for human emotion with your architecture?

Well a first step is to design through the senses — using architectural qualities like materiality, light, and sound, you can create an architectural journey where the narrative pushes and pulls at different emotions. In other words, you can tell a story with your work using different architectural characteristics.

Secondly, the grand gesture behind your architecture can stand poetically to trigger certain emotions in occupants. This initial design concept can pull from aspects like metaphor, juxtaposition, or even new kinds of beauty. Emotion can be triggered if the design concept connects with occupants.

ARCHITECTURE AS ART Think about how a trip to the museum of listening to a piece of beautiful music can affect your mood. The architectural design of a building should be created with that same thing in mind. When architects add a more creative approach to their

designs (without, of course, sacrificing safety and functionality) the way people view the buildings changes.

Think about how many buildings on your block look practically identical. Then think about the kinds of buildings that stick out in your mind. Think about New York's Guggenheim Museum, for example. Seeing these buildings from both the outside and inside likely makes you happy. Also, seeing something you've mentally designated as a "landmark" can even help to relax you.

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ARCHITECTURAL LANGUAGE There is a code which generates quality in a building and makes things alive. There is a process adopted by architecture as well as other art form to generate meaning: and this through the language they use. The ability of built form to invokeexpression lies in its power of language. The degree to which the building comes to life and the Dynamics it generates dependent on it. This is how the life of a beautiful building are generated which language is not only responsible for the shape of the building form but its quality of space. “It is true that the spirit which the building have there is a power there is life comes from the pattern of language their builder used�

To compose spaces in accordance with the theme and Express meaning, in essence of language. It is composed of vocabulary- the elements used to communicate meaning, as words of language are and grammar- the principle of composition which other and unite these elements.

Elements of architectural language are the elements of space, and they grouped into two, as generators and modifiers.

Mass, scale, volume which is intrinsic component of the character of space are its generator which is colour, texture, light and darkness helps to exemplify and accentuate space become its modifier.

Composition is used architecture to articulate spaces from a whole with meaning. In composition the principle of Unity,

contrast, proportion and accentuate are used to convey and to emphasize meaning.

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5 SENSES IN ARCHITECTURE Humans have five main senses in which are used to understand themselves and the world around them. The visual sense has dominated over the other senses, especially in architecture. If only one sense is being used, how much is each human experiencing? Humans learn about their environment and about themselves through their senses. If one sense is predominantly used, that experience is limited.

How can architecture be experienced using all of the possible senses? The qualities of a space are what offer the full experience. Such qualities are temperature, textures, materiality, volume and acoustics. Simple features in design can be implemented to aid in perceiving with the whole being. A person can feel the sense of the space with the temperature of the space and the airflow. Also, the way sound travels through a space can give a person an idea of what the space is like.

By offering materials that can be touched and adding plants that give off scents, we can simply enhance a space. It is the small things that make a difference.

Just as Juhani Pallasmaa said, meaningful buildings always guide our consciousness back to the world and to our sense of self...noteworthy architecture makes us experience ourselves as whole embodied and spiritual beings, incorporated in the

flesh of the world (Diaconu 53). Pallasmaa’s architecture: the way spaces feel, the sound and smell of these places, has equal weight to the way things look. It is very difficult to photograph acoustics, scents or tactility, but it is hard to forget the distinctive things we hear, smell and touch. The senses give us something to remember.

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5 SENSES IN ARCHITECTURE Olfaction (Steam Element) : Olfaction is more active in silence and lack of light. (when other senses are less important.)

As Juhani Pallasmaa believes nose can remember better than eyes and understands the space deeper and sharper and realizes the difference.

Tactility (The Earth Element) : Tactility is more accurate than eyesight and is less exposed to mistake. Tactility is the sense of closeness, proximity and effect. Eye touches the distance but tactility sees the closeness. Smoothness and roughness, bumps and hard, contact and touch, texture, weight, density, heat or material temperature are related to the sense of touch.

Taste (Water Element) : Taste of the space, is mostly related to those spaces which their function have directly relevance to tongue and the sense of taste such as grocery stores, restaurants, bakeries and so on. On the other hand the sense of taste

also remembers and recalls and so creates an important part of memory. each city has its own taste of flavoring and special foods.

Aural (Air Element) : Eyesight isolates the object while sound invites it to contribute. Form of diamond can resonate sound as it can resonate light. As if it is used for ceiling form, like a part of Golconda Fort in Hyderabad, India, that in a semi-open space under a dome, the sounds resonate but with just a few steps far from the dome, we cannot feel this effect Eyesight (Fire Element) : Eyesight is an embodied vision and an embodied part of the fabric of world. Sight separates us from the world, while the rest of the senses joins him.

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5 SENSES IN ARCHITECTURE

Fig no. 14

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ELEMENTS OF CONTRAST Contrast is used in architecture to avoid monotony and

should

be

used

to

create

interesting

composition. It pours relief to the senses and stimulates and gives freedom and vitality to built from. Through variation in shapes and forms of spaces, differences in volume or changes in colours and tone, the contrast could be achieved.

The importance of contrast has a great relevance to the composition and proportion of masses. “Good proportion in any composition will be found dependent on certain effects of contrast and we may almost say that obtaining good proportion in a

General sense is synonymous with obtaining good contrast.

- Royal Ontario museum

Fig no. 15

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ARTICULATION OF FORMS Articulation gives emphasis or accent to element of composition to enhance the effect or grouping. This becomes relevant under achieving contrast, and it is achieved in a variety of ways, by sheer massing and bulk of forms, by concentration of richness in decoration, or by strength of colour or tone, this can be achieved.

It creates a centre of attraction enhance the effect of grouping of space and form. It enables to direct movement in such a way that one become unconsciously and unhesitant lead in the direction of the accentuated element.

-Everson museum of art, New York

- Palacio Guell, Baecelona

Fig no.16

Fig no. 17

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THE ORCHESTRATION OF SPECIAL PROGRESSION Orchestration is the planning or coordination of the elements of a situation to produce a desired effect, especially

surreptitiously.

This becomes one of the fundamental principle of ordering spaces in architecture composition. The orchestration of special progression means “the ordering of space in a manner to generate this meaning and expression” Thus as one moves from space to space he is enabled to perceive the meaning inherent in it. The articulation of “spaces depends upon the experience a person is subjected to each space and the masterly orchestration of these experiences. Architecture is the articulation of space so as to produce it in the participant a definite spatial experience in relation to the previous and anticipated experience. This could in other words be described as a journey through the built from, starting from entrance where it begins and progressive towards the end. Which is marked by a major space or climax.? Each page is the unified part of other, it does not exist in isolation but becomes a part of the ‘whole’ to generate meaning. This evokes the relationship between space and people Fig no. 18 Scarborough College ,West Hill, Ontario

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THE ORCHESTRATION OF SPECIAL PROGRESSION Orchestration Generates Movements Orchestration group spaces certain pattern which establishes a sequence. This could be defined as series of spaces taking their form one another. This ensure the flow of space and established order.

“All species, and exteriors are experienced by people passing through them in a definite sequence. Spaces do not occur in isolation, they are linked together, and the effect of space depends on the space before it and after it. All special sequence must be functional and legible.”

The sequence the generates movement which enhances the potentiality of the space to be experienced Architecture is created to the movement of space from one to another. The layering of spaces in such a manner to create “living experience of Space”.

This is done to the sense of movement generated in the mind of the user from the movement he enters into a building does the physical immobile and static Space of a built form enables the generation of dynamic movement. The space to one another and establishes they their inter relationship.

The idea of the users movement those through spaces create a continuity of experience which invites his participation.

Daily basis for creating meaningful built from. The movement have has a directional sense marked by the axis of the building it starts from the entrance and which is its beginning and end at the climax.

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EXPERIENCING ARCHITECTURE Experiencing journey consists of a starting point from which we are taken through a sequence of spaces that culminates

into climax.

The approach way becomes the first experience of the built form. Which prepares a person and Orient him towards a specific direction? This may be achieved by a straight axis leading directly ,heightening the impact of built form or by a winding roads with levels providing different sensation and unexpectancy. The journey may be varied by the duration, where one would directly or through time experience review of built form this generates an impact of the special experience which follows.

ENTRANCE This is the in between breathing space between the outside and inside. A place of preparation person can change his frame of mind was adapted to certain conditions of the space. As an example, when arriving from a loud noise area to accept and intimate protective feeling of Windows the transition in created through the entrance experience may change due to changes of light directional view experienced by a person as he enters into building the entrance radiates movements along the main part into the core Space. It can change the mood and the behavior of the user.

TRANSITION SPACES The spaces between the entrance and built form act as a transition space, which emphasizes and gives the sensation of entering. This may enables the creation of an impact of built form, according to the sense of direction it offers.

Examples, staircase, terraces, etc,.

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EXPERIENCING ARCHITECTURE INTERMEDIATE CONNECTORS This connect spaces from the entrance to the main or the secondary spaces. It could be created through an open space with a colonnade, or an enclosed space directional sense, and creating movement along it a required direction. Texture of the form and the manner it is treated generate the required in motion and sensation.

INTERMEDIATE CLIMAX Introduced by lobby places intervals connecting price spaces, to the main space. They perform a specific meaning gradually serving the heighten quality of the main space that is climax. This may also act to provide and immediate movement before the climax, creating the transformation possible. The proper handling of scale, volume, textural effects of a light and darkness makes the required transformation in order to receive the major Space. The intermediate climaxes accumulate the bracket major climates, and creates a powerful impact the emotions and Expectations of the spectator .

CLIMAX This is the destination of the focal point of a special Journey. It is placed in an appropriate position in the movement path; this may vary, perhaps at the middle or end to gather impact. Each space therefore it organized in an hierarchical odd which ends up with this central or Major space, the begets the climax of the total special experience. The climax

ultimately acquires predominance of a spatial experience and communities this to be user. This Is the essence of Total special experience.

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CHAPTER 4: ART MOVEMENTS Art Movements are the collective titles that are given to artworks which share the same artistic ideals, style, technical approach or timeframe.

The artists associated with one movement may adhere to strict guiding principles, whereas those who belong to another may have little in common.

Art Movements are simply a historical convenience for grouping together artists of a certain period or style so that they may be understood within a specific context.

Art Movements has always been important to architects, in order to create their design. Their approach to architecture was to create something which has a value during the time.

Studying the major Art Movements and summing up their impact on Drama in architecture.

Art Movements are essentially a 20th century development when there was a greater variety of styles than at any other period in the history of art.

- Art movements

Fig no. 18

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NEOCLASSICISM "There is but one way for the moderns to become great, and perhaps unequalled; I mean by imitating the ancient...especially the Greek arts."

Johann Joachim Winckelmann Neoclassical architecture was an architectural style produced by the neoclassical movement that began in the mid-18th century, both as a reaction against the Rococo style of anti-tectonic naturalistic ornament, and an outgrowth of some classicizing features of Late Baroque neoclassicism in architecture is evocative and picturesque, a recreation of a distant, it is framed within the Romantic sensibility Intellectually Neoclassicism was symptomatic of a desire to return to the perceived "purity" of the

arts of Rome, Greek, and renaissance classicism.

- Neoclassicism

Fig no. 19

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CONCEPTS, STYLES, AND TRENDS Influenced by Venetian Renaissance architect Andrea Palladio's designs and informed by the archeological discoveries at Herculaneum and Winckelmann's theories, Neoclassical architecture began in the mid-1700s and spread throughout Europe. The ensuing style, found in the designs of public buildings, notable residences, and urban planning, employed a grid design taken from classical Roman examples. Ancient Romans, and before them even older civilizations, had used a consolidated scheme for city planning for defense and civil convenience purposes. At its most basic design, the plan emphasized a squared system of streets with a central forum for city services. However, regional variations developed in the early 1800s, as the British turned to the Greek Revival style, and the French to the Empire style developed during the reign of Napoleon Bonaparte. Both styles were connected to a sense of national identity, encouraged by the political environment of the time.

EXAMPLE- WHITE HOUSE The White House has been the official residence of every President of the United States with the exception of George Washington. The White House is located on a site near the Mall chosen in 1790 by president George Washington and Pierre l'Enfant. James Hoban, an architect of Irish descent. His neo-classical design is presumably based on the Leinster House in Dublin

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The seven-acre park in front of the White House was named to honor the Marquis de Lafayette, the French hero of the American Revolution.

The garden around the White House was first planted by John Adams. It was later redesigned by many presidents and first ladies. The most famous part of the garden was added in 1913 by Ellen Wilson, wife of president Woodrow Wilson. She created a Rose Garden, which would later be redesigned and used as a venue for official ceremonies by president Kennedy.

It is located just outside the Oval Office. the White House's southern facade is a combination of the Palladian and neoclassical architectural styles. The ground floor is rusticated in the Palladian fashion with a neoclassical projecting bow of three bays at the centre of the facade. The whole building was to be white-painted Aquia Creek sandstone.

The construction, undertaken largely by an enslaved and free African-American workforce, was still underway when President John Adams became the first leader to move into the house in 1800.

Fig no. 20

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White house

36

LATER DEVELOPMENTS Neoclassicism in painting and sculpture began declining with the rise of Romanticism, though in the early 1800s the two styles existed in rivalry, as Ingres held to Neoclassicism, by then considered "traditional," and Delacroix emphasized individual sensibility and feeling. By the 1850s Neoclassicism as a movement had come to an end, though academic artists continued to employ classical styles and subjects throughout most of the 19th century, while opposed and challenged by modern art movements, such as Realism, Naturalism, and Impressionism.

Nonetheless Ingres' work continued to influence later artists as he evolved away from Neoclassicism and into Romanticism with his female odalisques and their elongated backs. He impacted Edgar Degas, Auguste Renoir, Henri Matisse, and Pablo Picasso, who were informed by his figurative treatments with their stylistic distortions.

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ROMANTICISM "If by romanticism one means the free manifestation of my personal impulses, distancing myself from the rules set in schools, and my distaste for the recipes of the academy, I must confess that not only am I a romantic, I was from the age of 15.

Eugène Delacroix At the end of the 18th century and well into the 19th, Romanticism quickly spread throughout Europe and the United States to challenge the rational ideal held so tightly during the Enlightenment. The artists emphasized that sense and emotions - not simply reason and order - were equally important means of understanding and experiencing the world.

Romanticism celebrated the individual imagination and intuition in the enduring search for individual rights and liberty.

Its ideals of the creative, subjective powers of the artist fueled avant-garde movements well into the 20th century.

Romanticist practitioners found their voices across all genres, including literature, music, art, and architecture. Reacting against the sober style of Neoclassicism preferred by most countries' academies, the far reaching international movement

valued originality, inspiration, and imagination, thus promoting a variety of styles within the movement. Additionally, in an effort to stem the tide of increasing industrialization, many of the Romanticists emphasized the individual's connection to nature and an idealized past.

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KEY IDEAS Started: c.1780 Ended: 1830 In part spurred by the idealism of the French Revolution, Romanticism embraced the struggles for freedom and equality

and the promotion of justice. Painters began using current events and atrocities to shed light on injustices in dramatic compositions that rivaled the more staid Neoclassical history paintings accepted by national academies.

Romanticism embraced individuality and subjectivity to counteract the excessive insistence on logical thought. Artists began exploring various emotional and psychological states as well as moods. The preoccupation with the hero and the genius translated to new views

of the artist as a brilliant creator who was unburdened by academic dictate and tastes. As the French poet Charles Baudelaire described it, "Romanticism is precisely situated neither in choice of subject nor in exact truth, but in a way of feeling."

Fig no. 21

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‘While we hold on to India, we are a first-rate power. If we lose India, we will decline to a third-rate power. This is the value of India’ The Royal Pavilion at Brighton, designed and redesigned over the

Lord Curzon, Viceroy 1899-1905

course of some 30 years to the specifications of the Prince of Wales, afterwards Prince Regent and eventually King George IV (1762– 1830; reigned 1820–30) Its fundamental expression of Regency England Romanticism derived from the world of letters. Samuel Taylor Coleridge’s opiumfuelled poem "Kubla Khan," a classic of Romantic literature, published in 1816, famously speaks of the "stately pleasure-dome" of the Mongol ruler. Indeed, the only true architectural pre-cursor to the Pavilion in this Romantic Gothic tradition is probably Walpole’s own Strawberry Hill (see image below), an early example of Gothic

Curving details of Royal Pavilion at Brighton,

Fig no. 22

Revival architecture, which applies "Gothick" forms and motifs in a similarly imaginative way as the Pavilion.

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ART DECO Started: 1900 Ended: 1945 The Art Deco style manifested across the spectrum of the visual arts: from architecture, painting, and sculpture to the graphic and decorative arts. While Art Deco practitioners were often paying homage to modernist influences such as Cubism, De Stijl, and Futurism, the references were indirect; it was as though they were taking the end results of a few

decades of distilling compositions to the most basic forms and inventing a new style that could be visually pleasing but not intellectually threatening.

The Art Deco style originated in Paris, but has influenced architecture and culture as a whole. Art Deco works are symmetrical, geometric, streamlined, often simple, and pleasing to the eye. This style is in contrast to avant-garde art of the period, which challenged everyday viewers to find meaning and beauty in what were often unapologetically antitraditional images and forms.

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CHARACTERISTICS OF ART DECO ARCHITECTURE Art Deco architecture is very striking and looks different from earlier styles. You'll definitely notice it when you see it. Builders used new industrial materials like stucco, concrete and stainless steel. You can also find structures decorated with aluminum, chrome, opaque plate glass, and glass block.

There's a strong vertical emphasis, too. Everything points up. Art Deco structures feature considerable surface decoration, especially around the tops of skyscrapers. Look also at the areas around windows and doors.

Many buildings had surface decorations above doors and windows done in low relief that combined geometric patterns and figures.

One good example is a relief panel from the lobby of the Daily Express Building in London. Contrasting tones of gold and silver

Example of an Art Deco theater building. Notice the opaque plate glass exterior wall surfaces and the glass blocks in the tower

Fig no. 23

highlight angular figures. The central figure has strong vertical emphasis.

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The Empire State Building One of the most popular attractions on our itinerary is the Empire State

Building. Built in 1931, the building has 102 floors and stands 1,250 feet tall. It is currently the tallest tower in New York City and the 2nd tallest building in the United States.

Aesthetics How does art, culture, designs thoughts influence the design: The Empire State building has been named by the American Society of civil engineers as one of the seven wonders of the modern world. The building and its interior are designated monuments of the Commission for the preservation of historical monuments in New York, and confirmed

by the New York City Board of estimate. It was designated as a national historic monument in 1986. In 2007, he was the number one on the list of favorite American buildings and today also. The building is owned and managed by W & H Properties.

Fig no. 24

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The Empire State Building

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ART NOUVEAU Started: 1890 Ended: 1905 Generating enthusiasts in the decorative and graphic arts and architecture throughout Europe and beyond, Art Nouveau appeared in a wide variety of strands, and, consequently, it is known by various names, such as the Glasgow Style, or, in the German-speaking world, Jugendstil. Art Nouveau was aimed at modernizing design, seeking to escape the eclectic

historical styles that had previously been popular. Artists drew inspiration from both organic and geometric forms, evolving elegant designs that united flowing, natural forms resembling the stems and blossoms of plants. The emphasis on linear contours took precedence over color, which was usually represented with hues such as muted greens, browns, yellows, and blues. The movement was committed to abolishing the traditional hierarchy of the arts, which viewed the socalled liberal arts, such as painting and sculpture, as superior to craft-based decorative arts.

"Art is a line around your thoughts."

Gustav Klimt The style went out of fashion for the most part long before the First World War, paving the way for the development of Art Deco in the 1920s, but it experienced a popular revival in the 1960s, and it is now seen as an important predecessor - if not an integral component - of modernism.

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ARCHITECTURAL STYLE Throughout Europe, you can find excellent examples of Art Nouveau and its associated styles in places like Brussels, Belgium; Prague, Czech Republic; and even Aelsund, Norway, which was rebuilt largely in Art Nouveau style following a fire in 1904.The Art Nouveau movement began in France and spread through Europe, encouraged by similar ideas among groups of artists in many countries. In each place, the style differed slightly and was known by different names. Here are a few of those names, along with their locations and associated architects: Art Nouveau (France): Hector Guimard's graceful, curving metal station entrances delight visitors to the Paris subway.

Glasgow Style (Scotland): Charles Rennie Mackintosh's distinctive design for the Glasgow School of Art combines a linear emphasis with Celtic elements.

Modernisme (Spain): Antoni Gaudi's fanciful and colorful Casa Batllรณ seems almost alive.

Vienna Secession (Austria): Otto Wagner's beautifully decorated Majolikahaus has ceramic tile work with a riot of pattern and color.

Fig no. 25

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The Secession Building, Vienna

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CHARACTERISTICS You can identify Art Nouveau structures by their graceful, curving lines. Some structures seem almost organic, rising from the ground in swelling and undulating forms. In a form sometimes called a whiplash curve, lines stretch and then

bend back on themselves, a hallmark of the style.

"There are no straight lines or sharp corners in nature. Therefore, buildings must have no straight lines or sharp corners."

Antoni Gaud

ART NOUVEAU BUILDING FEATURES 1. Extensive use of arches and curved forms 2. Curved glass 3. Curving, plant-like embellishments

4. Mosaics 5. Stained glass 6. Japanese motifs

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Casa Batlló, Barcelona Casa is a building in the center of Barcelona. It was designed by Antoni Gaudí, and is considered one of his masterpieces. A remodel of a previously built house, it was redesigned in 1904 by Gaudí.

Like everything Gaudí designed, it is only identifiable as Modernisme or Art Nouveau in the broadest sense. The ground floor, in particular, has unusual tracery, irregular oval windows and flowing sculpted stone work. There are few straight lines, and much of the façade is decorated with a colorful mosaic made of broken ceramic tiles (trencadís). The roof is arched and was likened to the back of a dragon or dinosaur. A common theory about the building is that the rounded feature to the left of centre, terminating at the top in a turret and cross, represents the lance of Saint George (patron saint of Catalonia, Gaudí's home), which has been plunged into the back of the dragon. The local name for the building is Casa dels ossos (House of Bones), as it has a visceral, skeletal organic quality.

Fig no. 25

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-Casa Batlló, Barcelona

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CHAPTER 5: PRINCIPLE OF DESIGN The principles of design describe the ways an artist use different elements of design in a composition.

These ways or principles are 1. Balance 2. Rhythm 3. Emphasis 4. Contrast 5. Movement 6. Harmony 7. Proportion and scale

Principles of Design can used in order to create some sort of Drama in a space. All the principles have a different story and can be used differently.

For example HARMONY , it can be used in different types of design in order to create a pattern a story a drama.

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BALANCE It is the distribution of the visual weight of objects, colors, texture, and space. If the design was a scale, these elements should be balanced to make a design feel stable. In symmetrical balance, the elements used on one side of the design are similar to those on the other side; in asymmetrical balance, the sides are different but still look balanced. In radial balance, the elements are arranged around a central point and may be similar.

A sense of equilibrium. When establishing balance consider visual weight created by size, color, texture and number of objects. Balance is the concept of visual equilibrium, and relates to our physical sense of balance. It is a reconciliation of opposing forces in a composition that results in visual stability. Most successful compositions achieve balance in one of two ways: symmetrically or asymmetrically.

Fig no. 26

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-Balance

49

Symmetrical balance can be described as having equal "weight" on equal sides of a centrally placed fulcrum. It may also be referred to as formal balance.When the elements are arranged equally on either side of a central axis, the result is Bilateral symmetry. This axis may be horizontal or vertical. It is also possible to build formal balance by arranging elements equally around a central point , resulting in radial symmetry. This is called Radial Balance Asymmetrical balance also called informal balance, is more complex and difficult to achieve. It involves placement of objects in a way that will allow objects of varying visual weight to balance one another around a central point. It just means that there are no mirror images in a composition. The term, however, is usually used to describe a kind of balance that does not rely on symmetry:

Fig no. 27

Fig no. 28

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Fig no. 29

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Fig no. 32 Asymmetrical balance

Asymmetrical balance Fig no. 29

Fig no. 31

Balance Using Texture Balance Using Space

BALANCE : 1. Asymmetrical balance 2. Balance Using Texture 3. Balance Using Colours 4. Balance Using Shapes 5. Balance Using Space

Fig no. 30 Balance Using Texture

Balance Using Colours

Fig no 33.

Balance Using Shapes

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RHYTHM It is created when one or more elements of design are used repeatedly to create a feeling of organized movement. Rhythm creates a mood like music or dancing. To keep rhythm exciting and active, variety is essential.

A visual tempo or beat. The principle of design that refers to a regular repetition of elements of art to produce the look and feel of movement. It is often achieved through the careful placement of repeated components which invite the viewer's eye to jump rapidly or glide smoothly from one to the next. Rhythm in architecture is the repetitive use of a group of visual elements, at least three times, to establish a recognizable “pattern.� Simple examples of rhythm are the alternating window and column arrangement of most high rise office buildings. More complex rhythms make use of what in jazz music is called "counterpoint", that is, two or more intersecting or overlaid rhythms. This is seen frequently in classical architecture, where a

series of columns and openings are overlaid on top of a series of smaller openings.

Rhythm

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Fig no. 35

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1. Rhythm by Repetition • Rhythm created by duplicating (repeating) shapes, colors, pattern, line, texture.

• Repeated Window panes, repeat. Stripes on wall and design and colour of glass.

2. Rhythm by Gradation •

Rhythm created by a gradual change in size or color.

• Carpet on the floor changes gradually in value. Gradation in lights 3. Rhythm by Radiation •

Rhythm created by identical objects coming from a central axis.

• The glass frames "radiate” from the center of the path.

• The floor design, the windows, furniture's etc. in redial rhythm 4. Rhythm by Opposition • Rhythm created direct placement of lines, shapes or colour to create opposition through abrupt visual change.

• Contrasting black and white tiles and the lines intersecting at right angles.

5. Rhythm by Transition •

Rhythm created by curved lines that carry your eye across a straight surface.

•

Window treatments that gently swag down, create a soft rhythm by transition.

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Fig no. 40 Fig no. 37

Rhythm by Repetition

Rhythm by Opposition

Rhythm by Transition

Fig no. 38

Fig no. 36

Rhythm by Gradation

Rhythm by Radiation

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Fig no. 39

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EMPHASIS Emphasis creates a focal point in a design composition; it is how we bring attention to what is important in it. It is the the focus of attention and interest within a composition In Architecture it is the feature that commands attention and makes a design visually interesting.

The main reason in using emphasis is to help you communicate the message that needs to be communicated. Emphasis helps readers determine the important information on your display and allows them to interpret the message faster. This process of arranging the visual elements on a composition according to their order of importance and emphasis is called Visual Hierarchy. Visual Hierarchy is used to guide readers attention to the main places on your composition.

EMPHASIS

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Fig no. 41

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How to Create Emphasis?

1. Make it bolder 2. Make it brighter 3. Change Style 4. Add special visual effects.

5. Add a border or frame 6. Add more negative of positive space 7. Add shadow or lights 8. Change the color 9. Change the position 10. Create Focal Points

Guidelines for Creating Emphasis • The point of emphasis should command attention, but not dominate the overall design. • Other features within the composition should not compete for the emphasis or contrast.

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Fig no. 42

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VARIETY (Contrast) Contrast is simply defined as difference. Difference between elements or subjects within a work of art or composition.

Contrast can be created through variety within the elements of art. (i.e. value, color, texture) Contrast can be used to create a focal point or area of interest in an artwork Contrast is closely related with variety which is usually considered as principle of design. Although some art purist, stick with variety and argue that contrast simply creates variety. it is easy to understand how colour can create contrast. For example, complementary colours provide a high level of contrast. Complementary colours are colours that are located directly across from each other on the colour wheel. Red and green, blue and orange, and purple and yellow are all examples of this. But when using complementary colours, we also have to consider value. Value is the darkness or lightness of colour.

How to Create Emphasis?

1. Contrast (variety) in Colour 2. Contrast (variety) in Texture 3. Contrast (variety) in Size & Shape 4. Contrast (variety) in Space VARIETY (Contrast)

Fig no. 43

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Fig no. 45 Contrast in Texture

Without contrast in value, the contrast created

by

complementary

colours

Contrast in Colour Fig no. 47

is

counter- productive. Notice how the red and green vibrate off of each other. The result is aesthetically horrid. The problem lies in the use of value. There needs to be contrast in value along with the contrast in colour. If

we change the values, not the colours, the result is more successful Contrast in Space

Contrast in Size & Shape

Fig no. 46

Fig no. 44

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Contrast in Colour

Fig no. 48

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MOVEMENT Movement is the visual flow of your Design. It's the path that you intend your viewer's eye to follow. You can create this by purposefully placing art elements in a way that creates a path for the eye to follow.

Movement Is a visual flow through the composition. It can be the suggestion of motion in a design as you move from object to object by way of placement and position. Directional movement can be created with a value pattern. It is with the placement of dark and light areas that you can move your attention through the format An art work may incorporate actual motion; that is, the artwork itself moves in some way. Or it

may incorporate the illusion of, or implied movement. Art that moves through the effect of natural properties, either its own inherent properties or their effect, is unpredictable.

Spatial relationships within the work change continuously, with endless possibilities. One of the delights of experiencing such artwork is the element of change and surprise. It's as if every time we look at it we are seeing a Fig no. 49

new artwork.

MOVEMENT

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Movement refers to the way the eye travels over a design. The most important element should lead to the next most important and so on. This is done through positioning (the eye naturally falls on certain areas of a design Fig no. 52

first), emphasis, and other design elements already mentioned.

Movement Patterns

Fig no. 49

Movement in Architecture

Fig no. 50

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Fig no. 51

60

HARMONY Harmony in visual design means all parts of the visual image relate to and complement each other.

Harmony pulls the pieces of a visual image together.

Harmony can be achieved through repetition and rhythm.

There are 2 types of harmony.

1. Unity 2. Variety

1. Harmony By Unity a. Unity occurs when all the parts of a design or composition are related by one idea.

b. A unified design has consistency of style.

Fig no. 53 HARMONY

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HARMONY 2. Harmony By Variety a. When multiple elements of design are used to add interest to a design. b. Variety can be created using different elements and materials, as long as they are compatible to each other. c. Harmony Is achieved when unity and

variety

are

effectively

combined. d. Carrying variety too far creates confusion.

e. A lack of unity may make a space smaller.

Fig no. 54

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Harmony By Unity and Variety

62

Proportions & Scales Scale refers to the size of an object (a whole) in relationship to another object (another whole). In art the size relationship between an object and the human body is significant. In experiencing the scale of an artwork we tend to compare its size to the size of our own bodies. The image cannot be displayed. Your computer may not have enough memory to open the image, or the image may have been corrupted. Restart your computer, and then open the file again.

If the red x still appears, you may have to delete the image and then insert it again. •

Scale relates to the size of a design in relation to the height and width of the area in which it is placed.

•

Placement of objects determine the size when compared to each other or in other words we evaluate the size from the objects surrounded by objects.

Fig no. 55

Fig no. 56

SCALES

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PROPORTIONS

63

This chairs massive scale diminishes everything around it

The chairs light palate accentuates its skinny scale

This club chair matches the scale of the sofa.

Center table is over- scaled for the sofa

Table not only looks out of scale, it functions poorly as well.

The table is substantial enough to anchor the furniture grouping, yet it leaves room for traffic flow around both ends.

Fig no. 57

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CHAPTER 6: CASE STUDIES MATRIMANDIR, AUROVILLE Location: Auroville, India Architect: Roger ANGER architects Site area: 3500 sq. M.

Matrimandir, Auroville

Fig no. 58

EVOLUTIONARY PRINCIPLE

The name 'Matrimandir' means literally 'Temple of the Mother'. According to Sri Aurobindo's teaching, the 'Mother' concept stands for the great evolutionary, conscious and intelligent principle of Life, the Universal Mother, - which seeks to help humanity move beyond its present limitations into the next step of its evolutionary adventure, the supramental consciousness.

At the very centre of Auroville one finds the 'soul of the city', the Matrimandir, situated in a large open area called 'Peace', from where the future township will radiate outwards. The atmosphere is quiet and charged, and the area beautiful, even though at present large parts of it are still under construction.

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65

Map Of Matrimandir, Auroville Fig no. 59

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66

MATRIMANDIR, AUROVILLE

CONCEPT AND FORM EVOLUTION Roger Anger, who had received the Mother's instructions regarding this aspect of Matrimandir, has worked out the technical details: The diffuse sunlight behind the golden disks should shine through the 800 portholes in the ferrocement skin, illuminating 800 translucent orange-pink triangles, which form the Matrimandir's Inner Skin. Although the shape and size of these translucent triangles is determined by the triangular beam structure, the beams and portholes should not be visible through the Inner Skin. The whole inside of Matrimandir should be filled with this orange-pink glow, coming from all sides, and no designelement or detail behind the orange screen should disturb the peaceful impression.

Fig no. 60

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Top View

67

MATRIMANDIR, AUROVILLE

INNER CHAMBER

The spacious Inner Chamber in the upper hemisphere of the structure is completely white, with white marble walls and white carpeting. In the centre a pure crystal-glass globe suffuses a ray of electronically guided sunlight which falls on it through an opening at the apex of the sphere The four pillars that support the structure of Matrimandir, and carry the Inner Chamber, have been set at the four main directions of the compass.

Maheshwari (South Pillar) One is her personality of calm wideness and comprehending wisdom and tranquil benignity and inexhaustible compassion and sovereign and surpassing majesty and all-ruling greatness.

Mahakali (North Pillar) Another embodies her power of splendid strength and irresistible passion, her warrior mood, her overwhelming will, her impetuous swiftness and world-shaking force.

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MATRIMANDIR, AUROVILLE

Mahalakshmi (East Pillar) A third is vivid and sweet and wonderful with her deep secret of beauty and harmony and fine rhythm, her intricate and subtle opulence, her compelling attraction and captivating grace.

Mahasaraswati (West Pillar) The fourth is equipped with her close and profound capacity of intimate knowledge and careful flawless work and quiet and exact perfection in all things.

Fig no. 61

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Inner Chamber

69

MATRIMANDIR, AUROVILLE

THREE MAJOR WORKS

A large Auroville construction group took up the three major works of producing the ferrocement elements for the outer skin, building the twelve outer petals, and tiling the existing Amphitheatre with natural red stone from Agra.

The Petals

The twelve stone-clad 'petals' around the Matrimandir form an intrinsic part of the complex. This is not only so because they add to the image of the New Consciousness breaking forth from Matter, but also since they - as the main structure itself - are to be centres for 'silence and concentration' with meditation rooms built inside each of them. Once completed, each of these circular spaces will carry the name and colour of one of the 'petals' of the Mother's symbol, so that users can choose the appropriate space according to their need of the moment.

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MATRIMANDIR, AUROVILLE The meditation rooms inside the twelve stone-clad 'petals' surrounding the Matrimandir carry the names and colours of the 'petals' in the Mother's symbol:

Twelve petals surrounding the structure in the following order:

Sincerity - light blue

Receptivity - orange

Peace - deep blue

Aspiration - orange yellow

Equality - blue violet

Perseverance - pale yellow

Generosity - pure violet

Gratitude - pale green

Goodness - reddish violet

Humility - deep green

Courage - red

Progress - orange red

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Fig no. 62

Mother’s Symbol

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MATRIMANDIR, AUROVILLE

The Columns

The columns arrived at Matrimandir in the beginning of January 1990.They were 24-inch

diameter, galvanised,

seamless steel pipes, 8.65 mtr long, weighing 830 kg each.

The painting job appeared straightforward and the first two were done completely in a couple of months. A dedicated

team started putting in extra time, a few infra-red lights appeared to help the drying, and then even an electric polishing machine arrived to speed up the work. There are an average of 15 coats of paint on each column with finer and finer sanding between coats after which the final polishing Fig no. 63

was done.

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Inner Pillared Chamber

73

MATRIMANDIR, AUROVILLE

The Gold Discs

The outer skin of Matrimandir is to be totally covered by decorative, golden, concave and convex discs. Mounted onto the structure by a system of metal rods, they will have the practical function of shading the building from the strong sunlight of south-India. In August 1995 the gilding of the discs started under the guidance of a master gilder from Germany. About 461 big convex discs (2.3 m diam) and 954 small (1.4 m diam) concave discs were to be produced. Over 100 discs were made using the method of gilding which the master gilder taught the workers at Auroville, before it was discovered that this method might not be suitable. Birds and bees, attaching themselves to the gold discs forced a reconsideration of this method of gilding.

The gold discs

•

Total number of discs: - 1415

•

Disc frame: - Stainless steel tubes

•

Small convex discs: - 954

•

Disc material: - stainless steel sheet

•

Large concave discs: - 461

•

Gold leaf: - 28 gm of gold per 1000 leaves

•

Average diam. (large discs): - 2.3 meter

•

Leaf size: - 85 x 85 mm

•

Average diam. (small discs): - 1.5 meter

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MATRIMANDIR, AUROVILLE The Crystal Globe The crystal for the Matrimandir arrived in Auroville on 26-4-91 at 10.15 p.m. It was moved into the Matrimandir's Inner Chamber the very next day at 09.45 a.m.

The size of 70 cm diameter was marked on the original plan that Mother had drawn for the central object in the Chamber.

In July 1983, the searchlight fell on the firm of Schott in Mainz, and somewhat later on Zeiss in Oberkochen, both in

Germany. These firms proposed the type of crystal - optically perfect glass - with the name of Bohr Kron 7. On the 8th of June 1984, Zeiss presented the study, and gave the estimate: approx. 230,000 German Marks.

On May 12 1987, Schott wrote to Zeiss that the cast has been done, and that the mould was being cooled. When two months later a visit to Zeiss was made, it appeared that this casting was the second one, - the first one having failed for unpublished reasons.

Fig no. 64 The Crystal Globe

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SUMMARY

As a part of my first case study- Matrimandir, Auroville is a public space mainly used in 1. Meditation and, 2. Yoga the role of colours is major in mediation so they have given totally white interior to the inner chamber with a crystal globe which has an light opening on the top of the structure so that the light comes directly and only to the globe. The globe helps us to meditate better. Then the white colour all around the inner chamber represent peace and mind smoothing vibe.

The outer structure acts as a shell that shows a protective layer around you while you mediate

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CASE STUDIES PLAYSPACE AT OCTUBRE HOSPITAL Location: Madrid, Spain Architect: Moneo Brock Studio Site area: 8180.0 ft2

THEME This is a Playground at an Hospital. It is an architecture project that aims to brighten the conditions of children inpatients suffering from cancer. Moneo Brock Studio has worked pro bono with Juegaterapia foundation. The project transforms the 800 m2 pre-existing rooftop at the 12 de Octubre Hospital in Madrid, Spain (where 7,000 children are hospitalized every year) into a playspace surrounded by

Fig no. 65

Playspace at octubre hospital

ornamental trees and plants.

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PLAYSPACE AT OCTUBRE HOSPITAL CONCEPT The design was inspired by the children’s drawings, which illustrated their ideal playspace. Thinking as children we realized that every element in the garden becomes a potential play element. We felt that the

space had to be more than just a playspace – it had to feel unique for the children, their own, a secret place, a landscape able to empower their imagination, a place where they could dream, where their senses would delight in contact with nature. And, on top of that, it should bear no resemblance to the hospital, but instead create a variety of atmospheres through

Fig no. 66

Conceptual sketch

landscape design.

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PLAYSPACE AT OCTUBRE HOSPITAL CONSTRUCTION Whilst offering privileged view of Spain's capital, the preexisting space posed several limitations for the design of this project. Given the rooftop’s exposure to Madrid's extreme climate, design required an element able to provide Shade a 6 meter high dome was designed for this purpose. The height also post some difficulties in terms of debris removal, transport and assembly during construction. Mechanisms were developed to avoid interrupting the normal use of the hospital Elevators and many of the structures for assemble on-site. Rooftop are often Home to climate control machinery and air vents, and this was no exception. Since none of these items could be removed, the design had to both disguise and

integrate them in the new area.

Fig no. 67 Water patch

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PLAYSPACE AT OCTUBRE HOSPITAL DESIGNING The rooftop was designed in such away that their senses would delight in contact with nature. And, on top of that, it should bear no resemblance to the hospital, but instead create a variety of atmospheres through landscape design. The design provides differently-sized circular areas, surrounded by trees and plants, variously focusing on playing and nature. Among other remarkable elements one could mention are a twisting path for toy motorbike races and a small soccer field.

IDEOLODY The project, which was completed and officially inaugurated in May 2015, enables the children inpatients to perform not just a physical

activity, but to find entertainment, social interaction, evasion and joy, hopefully providing them with therapeutic benefits during treatment

Fig no. 68

and recovery.

Dome

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HOSPITAL WATER ANS SAND PLAY AREAS

PREFEBRICATED CANOPIES FOR SHADING DOME

Fig no. 69

Rendered plan and section

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Fig no. 70

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3-d view

82

SUMMARY As a part of my second case study- Play space at Octubre Hospital a cancer specialty Hospital. The part I covered was its roof top designed as a play space for kids suffering from cancer.

Cancer at a very young age can result in minimum interaction with other children hence resist them to go to a playground or a play space. So as a pro bono project by Moneo Brock Studio. We felt that the space had to be more than just a playspace – it had to feel unique for the children, their own, a secret place, a landscape able to empower their imagination, a place where they could dream, where their senses would delight in contact with nature.the colours that smooth's them, the shapes they prefer, And, on top of that, it should bear no resemblance to the hospital, but instead create a variety of atmospheres through landscape design.

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LUXEMBOURG PAVILION Location: Dubai, UAE Architect: Metform architects Site area: 3500 sq. M.

THEME The underlying theme of Luxembourg‟s presence at EXPO 2020 DUBAI, “Resourceful Luxembourg”, starts with resources and the need to reinvent them, because preserving the resources of our planet and finding new ones to ensure the survival of humanity are the 2 most fascinating challenges of our time.

Fig no. 71

This theme will be explored in different ways and

Luxembourg pavilion - expo 2020

combined with the values of openness, dynamism and reliability.

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LUXEMBOURG PAVILION

SITE

The Luxembourg Pavilion lies in the

opportunity district of the Expo site, and is spread across 3500 sq. m of land. It falls under the category of “medium sized pavilions” and is surrounded by “small sized

pavilions”

on

both

the

sides.

Fig no. 72

Site

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LUXEMBOURG PAVILION

CONCEPT AND FORM EVOLUTION Inspired by a Mobius strip, where twisting and folding of a ribbon results in one single surface, with no beginning and no end, symbolizing an infinity, and in the particular context of „cradle to cradle‟, the circular economy.

The pavilion is modeled and organized around this principle, while partial optimization of the width of a ribbon creates a needed shade and protection.

Fig no. 73

Evolution of form

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LUXEMBOURG PAVILION MATERIAL AND CONSTRUCTION The outer envelope of the pavilion is a space frame made by modules of identical steel tubes.

• This modular approach allows a flexible shape and large column free structure.

• All the materials are reusable and all the joints are mechanical.

• Hence, the structure is easy to assemble, dismantle PLANS The ground floor of the pavilion features a VIP suite, administration unit, storage space, cafeteria, and restrooms.

The first and second floor is “dedicated to the spacethemed exhibition” and have areas for performances,

Fig no. 74

Frame Srtucture

concerts and temporary exhibitions

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Fig no. 75 Blowout diagram

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Fig no. 76

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89

Fig no. 77

Fig no. 78

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90

Fig no. 79

Fig no. 80

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LUXEMBOURG PAVILION CIRCULATION AND MOVEMENT The pavilion features a ramp entrance that leads into a central, multifunctional space on the first floor and further to the

second floor. To return to the ground floor from here, visitors can utilize stairs, elevators, or an unconventional slide through a picturesque green patio.

INFERENCE • The form and material are interdependent of each other.

• The material, structural system, and constructional techniques will be derivatives of the form.

• The external skin consists of the ramp, slide and other circulation spaces which caters to the main exhibition areas in the inner skin, which is the focus of the pavilion.

• Hence, the outer skin becomes the servant and the inner skin the served spaces.

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SUMMARY As a part of my Third case study- Luxembourg Pavilion a medium sized pavilion in dubai. The part I covered was the structure that folds in such a way you cant see where it starts and where it ends.

This theme will be explored in different ways and combined with the values of openness, dynamism and reliability.

Inspired by a Mobius strip, where twisting and folding of a ribbon results in one single surface, with no beginning and no end, symbolizing an infinity, and in the particular context of „cradle to cradleâ€&#x;, the circular economy.

The pavilion is modeled and organized around this principle, while partial optimization of the width of a ribbon creates a needed shade and protection.

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Hangzhou Haishu School of Future Location: Haishu Road, Yuhang District, Hangzhou, Zhejiang, China Architect: LYCS Architecture Site area: 44900.0 m2

THEME

Traditional school planning in modern Chinese cities usually provides students and children with an adult-scale campus environment at an excessively early stage. Such environment gives no help to them in coping with high educational and social pressure. Facing these phenomenon, it is the architects’ responsibility to subversively break these conventions in school planning and offer children

Fig no. 81

Hangzhou Haishu School of Future

with space of their own scale and age in which they will enjoy living and studying.

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Hangzhou Haishu School of Future Ideal school in High-density Space The project of Hangzhou Haishu School with a kindergarten and a primary school, is located in the Western Science and Technology City of Hangzhou.The architecture and interior design are both designed by LYCS Architecture.It is inspired by a random impromptu child drawing that depicts his ideal school which is like a small town full of small scale spaces and “happy” streets.Based on this inspiration, we divided the 28000 sqm campus into 15 much smaller scale gabled volume. The scale of each volume gradually increases according to the growth of children’s age and the variation in their behaviors. A

Fig no. 82

comfortable campus environment is formed by small inner

-site

courtyards

within

and

among

these

volumes.

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Hangzhou Haishu School of Future Small-scale House for Different Ages

This project consists of 27 classrooms for primary school

program

and

12

classrooms

for

kindergarten program, which forms three U-

shaped blocks and are distributed from south to north accordingly. The heights of these blocks increase incrementally to adapt different demand of scale of different departments, as well as to create

a

dynamic

skyline.

.

Fun Roof Space for Free Exploration Fig no. 83

-exposed stairs and corridors

To make more intriguing activity space for students, the design offers massive rooftop activity space according to

characteristics of different student groups and specialty of each roof form, such as playground, plantation, theatre, reading room,

runway

and

relaxation

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area.

.

96

Hangzhou Haishu School of Future Recognizable and Colorful Gable In this campus colored with white and grey, each of the gabled facade is designed differently in color,material and window forms, as to signify the different usage of each building. These facade painted with bright colors of yellow, green and light blue not only renders a warm and lively atmosphere, but more importantly underlines the sense of belonging

and

identification

of

different

area.

Fig no. 84

- Colorful Gable

The school project consists of teaching buildings, an administration building, a gym, a canteen, etc. All the functional spaces are connected in series through corridors, inner courtyards and corridors of different opening degrees.

Exposed stairs and corridors shaped dynamically are not

only designed for circulation, but also for plenty of activity spaces.

Fig no. 85

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-roof playground

97

Hangzhou Haishu School of Future Additionally, five buildings within the compound are covered with deep red in order to create a different rhythm within a unified materiality. Students, especially kindergarten children can easily describe their location in the campus according to the different

facades, which helps to form their own cognitive map of the campus.

Adhering to a special variation in scale, the design of this entire campus closely follows the growth and emotion of its users. The design notion of “the story of a small town� will allow students and children to enjoy their own fairy tale like campus.

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Fig no. 86

- Top view

98

Hangzhou Haishu School of Future

Fig no. 87

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- Sketch by student

99

Hangzhou Haishu School of Future- SITE PLAN

Fig no. 88

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Hangzhou Haishu School of Future- PLAN SECTION

Fig no. 89

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-plans and elevations

101

Hangzhou Haishu School of Future- PLAN SECTION

Fig no. 90

-Sections

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SUMMARY As a part of my Forth case study- Hangzhou Haishu School of Future a Elementary school in Zhejiang, China. The part I covered was the idea of the architect to bring the revolutionary solution to the on going trend regarding the school designing. Traditional school planning in modern Chinese cities usually provides students and children with an adult-scale campus environment at an excessively early stage. Such environment gives no help to them in coping with high educational and social pressure. Facing these phenomenon, it is the architects’ responsibility to subversively break these conventions in school planning and offer children with space of their own scale and age in which they will enjoy living and studying.

From entering the campus, the children walk into the yard by center walkway and then get the teaching building, which also

guided the children to explore the campus space. Located near main road in the city, the highest building on the north side provides an unified facade that coordinates with the overall urban interface.

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ANALYSIS Topics

MATRIMANDIR, AUROVILLE

PLAYSPACE AT OCTUBRE HOSPITAL

LUXEMBOURG PAVILION

Hangzhou Haishu School of Future

Principles of design

Use of symmetry, movement, proportions.

Element of contrast, movement, variety,

Movements, harmony rhythm

Element of contrast, movement, rhythm, proportions.

Theories used

Art nouveau

Romanticism, modem architecture

Modern architecture, flowing architecture

Modern architecture

Factors used

Use of natural lights, play with colours with respect to the emotions, Architectural language, Experiencing architecture

Use of senses, colour theory, emotions, The orchestration of special progression, Experiencing architecture

the values of openness, dynamism and reliability. Light, Experiencing architecture

Colour theory, Architectural language, Experiencing architecture

Table no. 01

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ANALYSIS Topics

MATRIMANDIR, AUROVILLE

PLAYSPACE AT OCTUBRE HOSPITAL

LUXEMBOURG PAVILION

Hangzhou Haishu School of Future

Architectural features

No design-element or detail behind the orange screen should disturb the peaceful impression.

Design required an element able to provide Shade a 6 meter high dome was designed for this purpose.

with no beginning and no end, symbolizing an infinity,

dynamic skyline, differently in color, material and window forms, as to signify the different usage of each building

Innovative features

The diffuse sunlight behind the golden disks should shine inside the ferrocement skin, illuminating 800 translucent orangepink triangles

Rooftop are often Home to climate control machinery and air vents, since none of them are removed they design in such a way to neglect it.

The external skin consists of the ramp, slide and other circulation spaces which caters to the main exhibition areas in the inner skin,

The scale of each volume gradually increases according to the growth of children’s age

Materials used

Metal structure, golden galvanized rods.

Metal frame structure, prefabricated canopies.

the materials are reusable and all the joints are mechanical.

Beam column design, composite structure

Table no. 02

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ANALYSIS Topics

MATRIMANDIR, AUROVILLE

PLAYSPACE AT OCTUBRE HOSPITAL

LUXEMBOURG PAVILION

Hangzhou Haishu School of Future

Treatments

Textured shell structure with golden disks

Framed dome, water flowing gives a nice effect.

Ribbon creates a needed shade and protection.

Use of colors, gable roof with extra usable space

Impact on society

Designing such a spaces have a positive impact on people as it is mediation space created.

Gives a contract elements from the hospital, looks like a play area

Confusing created by the form

Changes the way normally schools are designed in china.

Impact on occupant

The main impact on the occupant id the positive vibe it gets inside it and how it heals them.

find entertainment, social interaction, hopefully providing them with therapeutic benefits during treatment and recovery.

Gives an open feeling without any boundary

The kids fell like they belong to the place with respect to there body scale.

Table no. 03

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CHAPTER 7: RECOMMENDATION ➢ Design guidelines in order to create Drama in architecture. As we have seen in above chapters drama in architecture can be shown in a lot of ways including 1. Planning 2. Interiors ➢ And the factors affecting are as follows 1. Lighting 2. Colors 3. Elements of contrast 4. Emotions 5. Landscaping 6. 5 senses 7. Articulation of forms 8. The Orchestration Of Special Progression

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RECOMMENDATION - In Planning So first of all in planning what we need to have in mind is the “END USER� because all that we as an architect are deigning is for the people that are going to use it. They can be the family living in your designed house or students studying the school or the people coming to a showroom to purchase something.

Planning is the most important thing for an architect to keep in mind. But planning is an evolving process it is changes at every step during a project. Planning of a building involves 1. Planning of the required spaces, 2. Relation in between kitchen and room or 3. Which class room should be on the ground floor and which not.

Factors that effect dramatically in planning 1. Dramatic stairs 2. Hallways 3. Floor area and floor height

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DRAMATIC STAIRS Here lies the main disadvantage of the building. In architecture, a stairway should serve as visual focus and spatial connector. In general stairways should help integrating vertical information while exploring multilevel buildings and they should ease experiencing the layout spatially with respect to the building as a whole. They function as a significant circulation node as well as a vertical interconnection between different levels of the building and thus enable the movement now between the levels of the building. Vertical circulation is one of the most important aspects of good building design in architecture. So, when planning the design of staircases architects generally have to take into account two key design parameters. First the constructional and representational form of its appearance have to be highlighted with respect to the function of the building and second the position of the stairway has to be optimized in relation to the user s

activity within the layout Ideally, stairways of a building represent its functional framework and accordingly, architects speak about the spatial nerve tract of the building. Users do not readily perceive a main stairway to the upper floors. Using the foremost stairway (near the entrance), there are a lot of spatial twists and turns without an opportunity for controlling one' s location. This deficit is at least partly due to the complete lack of visual access to the outside, which would help to improve spatial updating Additionally, the number of rotations within the stairway plays a great role for the user s stability of his cognitive map of the building Taken together. the analyses revealed that except for global building characteristics the staircases are the single most clearly identified cause of wayfinding problems in our contemporary building setting.

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LOBBY/ HALLWAY The entrance hall public buildings the most important point in the layout essential function of the entrance wall as such and to structure the route network, for unfamiliar visitor's, who clearly rely on Central point based strategy as we have earlier discussed however, this function is not properly meant, which imposes deflect on the building as a whole. For the user entering the hallway, within complex special settings Architects and designers have to create places of survey and overview to allow users to built when special knowledge.

FLOOR AREA AND FLOOR HEIGHT When people are in a low-ceilinged room. They are much quicker at solving anagrams involving confinement, such as "bound,� "restrained“ and "restricted." In contrast, people in high-ceilinged rooms excel at puzzles in which the answer

touches on the theme of freedom, such as "liberated" and "unlimited." According to Levy, this is because airy spaces prime us to feel free. Furthermore, Levy found that rooms with lofty ceilings also lead people to engage in more abstract styles of thinking. Instead of focusing on the particulars of things, they're better able to zoom out and see what those things have in common. (Is the difference between "item-specific versus "relational processing.) Sometimes, of course, we want to focus on the details of an object or problem, in which case a claustrophobic basement is probably ideal. However, when we need to come up with a creative solution, then we should probably seek out a more expansive space. Especially if it has blue walls.

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RECOMMENDATION -Interiors Interiors plays an important role in architecture as we enter to a building all we see is the internal part of the building what lies within is all that matters. First and foremost, interior design is important due to the aesthetic value it posses in a given space. . The simple fact is that having a house that looks nicer is going to make you like it better and that makes design important.

Interior design increases the value of a house/project. Most home buyers draw conclusions of buying the house and if the price is worth judging by the appearance. The interior of space affects the quality of life that the people live in such a way that they interact with this environment on a daily basis, and if something does not work for you, its more likely to frustrate more than make you happy.

TRANSITIONAL SPACES AND BUILDING INTERIORS The interior building structure is not distinguishable. To understand a building layout both the exterior and the interior structure of a public building has to be effortlessly understood. Looking at the floor plan, the dissimilarity of geometrical shapes and architectural forms would appear to be helpful for the users to orientate themselves When planning multifunctional public buildings architects have to bear in mind to separate private or personal space from public space. This rule serves the purpose of integrating two disparate spatial systems within one building. There are a lot of mistaken public and private areas within the conference center, which results in disorientating the user and the production of unnecessary dead ends. Therefore, public spaces have to be clearly Indicated both by architectural layout and signage.

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DOOR We could open the gate and move forward without really invading any private domain. The postman or other delivery tradespeople will have to do this. We might get some strange looks if we simply dallied there, but no one is likely to question us if we are there briefly and appear to move purposefully. Beyond is a larger gate that we can see has no lock.

Again we can proceed, but there is nowhere else to go but straight to the front door, and we feel it only appropriate to enter this semi-private domain if we intend to go even further. At the end of this short space is the front door, locked and with a bell to announce our arrival. If the occupant isothere, she will open the door and we will then be able to see a solid wall about a meter and a half away blocking our view of the inside of the house. She can converse with us there quite privately,

safe from prying eyes back on the street, or she may choose to invite us into the ultimate privacy of her home. It may at first seem as if all this space is wasted, as in Philip Johnson's words; however, of course he knew as we know that this space is far from useless. It symbolizes and controls the transition from public through semipublic and semi-private areas to the private domain. It signals changes of possession of territory, of control and of behavior. It speaks the language of space as fluently and eloquently as many grander and more celebrated pieces of architecture.

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INTERIORS OF SPACES Interiors should be designed with humans in mind, who understand space at an intrinsic level as a savannah. The ground should be darkest. like a path, whereas the mid range, eye-level colors should be neutral, and the ceiling should be light, like the sky. "Humans feel most comfortable in spaces that follow nature, instead of monochromatic bubbles. "Numerous studies show that buildings can impact a persons health, and as citizens of modern societies spend 90 per cent of their time indoors. this Buildings and urban spaces should be designed first and foremost around their occupants more important than

ever. It may seem obvious, but even the most beautiful building is largely useless if it doesn't fulfil its function. What use is stunning aesthetics if a person inside is stifled by heat from a badly placed window. or unable to arrange furniture neatly inside?

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CHAPTER 8: CONCLUSION “The experience of architectural spaces and sequences of spaces is formed by the way they are staged. Understanding, formulating, analyzing, and preparing this dramaturgical repertoire for design use is the subject of spatial dramaturgy,�

-Holger Kleine A Design in incomplete without feelings/emotions. I feel design emphasizes the importance of human emotions surrounded by all the creative process and then uses things like spontaneity, imagination, desire, passion, and within to influence the design process.

Architecture moves us, it elicits different emotions. It can bring back memories, but it can also elicit direct emotions, like letting you feel small or big, or give us a save feeling or an unsafe one. Architecture is sometimes even able to bring us in a spiritual mood. But the same space can make someone feel calm and another person would maybe feel uncomfortable or even unsafe there, still most of the people feel small in a big gothic church and unsafe in dark alley at night. Architectural space have certain atmospheres which influence the emotional state of a person; the interaction between the environment and its occupant We have in total of 5 senses each one with its important, visuality being the most important in architecture. The way spaces feel, the sound and smell of these places, has equal weight to the way things look. It is very difficult to photograph acoustics, scents or tactility, but it is hard to forget the distinctive things we hear, smell and touch. The senses give us something to remember.

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As from all the case studies I have concluded that architecture is something which does not have any boundary in terms of ideas and their implementation. Through architecture a child patient in a cancer hospital want to go out and play.

Drama can add to a lot of effects to a normal building . architecture can create drama in all such ways as drama is all about the psychology the emotions the effect of all types of shapes, colours and textures as well.

All the factors affecting drama in architecture plays an important role, the most important is “light” and “emotions”. As

when light hits a surface its reflection the shapes are formed and how can these things change the way we look to a building. Similarly in emotions the colour and shapes are majorly highlighted. Different colours can make our emotions to change like for example, all the popular food chains have a theme of red colour and interior inspired with red colour as this colour heightened our emotions as it has the highest wavelength it catches the eye first.

So in order to conclude my dissertation I would say use the spaces with the best techniques and elements in a way dramatic feeling is incorporated. Through drama architecture can be expressed.

Designing with more emptions may seem contrary to expectations sometimes, when the goal is to create a streamlined user experience, but it is essential to consider the fact that the user is a human being using the product.

So for my part, I think as they say is true “GOD IS IN DETAILS”

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CHAPTER 9: PROPOSAL- Natiya Basti From my dissertation what I have concluded in that architecture needs to have some emotions some drama as it is humans who are going to use it so keeping this in mind I have created a small scale proposal. My idea of this proposal was if people with least knowledge of architecture can find comfort in this then the high-class society will defiantly enrich it.

The Busti people, devoid of community spaces, 'value' even the tiniest of gestures. A slum is a segregated patch no different on the maps, yet untouched by the air of continuously escalating urban spaces. As slum is a space which is in extremely adverse conditions and has a huge scope of improvement. Recuperating slums will have an impact on the whole community. And thus the idea is to transform the dull, gloomy and dispirited environment of a slum and bring them to life through ART. You value it, when you don't have it.

Land Use Category

Area(in Hectares)

Percentage

Residential

2.89 ha

79%

Commercial

0.03 ha

1%

Public and Semi-public

0.05 ha

2%

Vacant Land

0.19 ha

5%

Roads

0.49 ha

13%

Total

3.67 ha

100%

Table no 04 Details of Existing Land use

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PROPOSAL- Natiya Basti •

Name of the city

Jodhpur

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Geographic Location

26° 17' 12" North, 73°1'48"East

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Average Elevation

232 metres (761 feet)

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Area of Jodhpur

Municipal Corporation •

231.65 sq.km.

Area of Jodhpur

Development Authority

988 sq.km.

•

Population

10.33 lakhs

•

Density

4460 persons per sq.km.

Table no 05 Details of SITE

Natiya Basti is one of the notified slums in Jodhpur Municipal Corporation Area located in Municipal Ward No. 58. The slum Natiya Basti is having an area of 3.68 hectares. Historically, the people of this area used to perform dramas and plays and hence the name “Natiya” Basti as “nat” has been derived from “nautanki” which means drama in hindi.

The slum is located just beside the railway track near Rai Ki Bagh railway crossing on NH – 112 that goes towards Jaipur.

Most of the houses in the slum are kaccha and is encroached on municipal land.

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PROPOSAL- Natiya Basti

POOR LIVING CONDITION Fig no. 91

Colour

Cleanliness THE APPROACH

Community spaces

Fig no. 92

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INTERVENTION PAINTING WALLS In this basti there are a lot of community residing, so in order to paint them we can deduct the caste system from the basti. Painting like graffiti or with some message.

SITTING AREAS A small area which has been allotted for seating purpose is created by using old threshes are knitted with myofibers along with table made from cooler stands covered Larea from net used in fencing purpose.

PERGOLA The designed pergola is inspired by the traditional Rajasthani roofing system kelu. Which involves c shaped tiles joined teach facing inversely. To carry out same technique waste plastic water bottles are used, cut into half after removing top and bottom, creating a same sequence, also creating capillaries which drains off rainwater. The roof is supported by bamboo posters.

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INTERVENTION FENCING to create a boundary along with fencing for the site, old matkas and bamboo are used. the matkas are

fixed upside down with the help of cement the bamboo here is inserted in the matka by making a hole on the top and for the support , soil and manure is filed in, hence also acting as small planters CAMP FIRE Area it has been designed by using fly ash bricks and waste plywood for seating purpose, decorated

beautifully with colors

Fig no. 93

Pergola(made from waste plastic bottles)

Sitting areas (made

Fig no. 94

from old tires)

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INTERVENTION MATERIAL USED Bamboos Paints Ropes Tires Fly ash bricks Cement Waste plastic water bottles

Fig no. 96

Fig no. 95 Coloured walls

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CHAPTER 10: BIBLOGRAPHY •

https://www.inman.com/2013/02/08/mysterious-architecture-creates-drama-suspense/

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http://www.grovesnatcheva.com/?page_id=2032

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http://dl.lib.mrt.ac.lk/bitstream/handle/123/312/95736_1.pdf?sequence=3&isAllowed=y

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https://www.omicsonline.org/open-access/color-and-light-in-architecture-and-its-effects-on-spirits-of-space-users-inapsychological-view-2168-9717-1000184.pdf

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https://medium.com/studiotmd/the-perception-of-color-in-architecture-cf360676776c

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https://www.cs.bham.ac.uk/research/projects/cogaff/sloman-aaai04-emotions.pdf

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https://www.archdaily.com/773643/garden-and-playspace-moneo-brock-studio

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Parallelism between Drama and architecture with special reference to contemporary Sri Lankan ArchitectureA.D.C.de shiva

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http://www.vmarch.net/blog/2015/8/20/architecture-the-senses-1

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Luxembourg Pavilion at DUBAI EXPO2020 | Metaform

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http://www.archinomy.com/case-studies/1968/matrimandir-auroville

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Relational logics - Auroville – IAAC Blog

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https://www.theartstory.org/section_movements_architecture.htm

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https://www.inman.com/2013/02/08/mysterious-architecture-creates-drama-suspense/

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https://www.designblendz.com/blog/the-importance-of-architecture-and-how-it-affects-your-emotions

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https://marialorenalehman.com/post/how-emotion-impacts-the-perception-of-architecture

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https://www.cwejournal.org/pdf/vol10noSpecial/CWE_Vol10_Spl(1)_p_138-143.pdf

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http://nfinfratech.com/projects-slum-upgradation.php

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https://www.slideshare.net/shaktinanda/principles-of-design-56175885

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Wikipidia

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How Architecture Uses Space, Light And Material To Affect Your Mood BY KASHMIRA GANDER

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https://www.archdaily.com/

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